Electronic music Books

Book SynopsisOpening with David Mancuso's seminal "Love Saves the Day" Valentine's party in February 1970, this title tells the definitive story of disco - from its murky subterranean roots in NoHo and Hell's Kitchen to its gaudy blossoming in midtown Manhattan to the out-of-town networks that emerged in the suburbs and alternative urban hotspots.Trade Review“Love Saves the Day is what we need for generations to come: it’s the real history of dance music and dj/club culture.”—Louie Vega, dj/producer, Masters At Work & Nuyorican Soul"A fantastic history of the birth of disco." -- Tracey Thorn, Everything But the Girl * The Guardian *“As authoritative as it is gossipy, Love Saves the Day is the ultimate backstage view of disco, the underground phenomenon that ended up defining a decade. Tim Lawrence talked to virtually everyone who shaped ‘70s urban nightlife, but he keeps his prime focus on the djs who created its seductive soundtrack. With them as your witty, opinionated guides, you’ll find yourself well past the velvet ropes, deep inside a scene that has never been so thoroughly or lovingly illuminated.”—Vince Aletti, Village Voice“At last disco gets the history it deserves. Tim Lawrence tells the story of ten years that shook the musical world with the scholar’s concern for detail and the fan’s concern for honor. Great tales of the humble and the ahubristic, of money, sex, and the utopia of the sound system. Illuminating and moving.”—Simon Frith, author of Performing Rites: On the Value of Popular Music “At long last, a candid, detailed, and authoritative look back on one of dance music’s most seminal moments in time. This book on the genesis of the movement in 1970s New York will delight anyone from the researcher wanting some serious unbiased fact-checking all the way to the casual music lover curious for juicy anecdotes. It’s about time!”—François K., dj and founder and president of Wave Music“I wish I'd written it myself.”—Barry Walters, Senior Music Critic, Rolling Stone“[A]n extraordinarily rich work that ought to transform the ways we write the history of popular music. . . . [A] marvelous book. . . .” -- Mitchell Morris * Journal of Popular Music Studies *"[A] fine, groundbreaking history filled with fresh information and thoughtful perspectives on the disco decade, the result of his hundreds of interviews and exhaustive research. Scores of photographs and signature discographies nicely complement the text." * Library Journal *"[A]s Tim Lawrence illustrates in Love Saves The Day, the story of disco is richer than its battered reputation lets on. . . . [A]n exceedingly well-reported history. . . . Love Saves The Day works as an eye-opening history of a movement that found a nation taking time out to dance." -- Andy Battaglia * The Onion *"[P]acked with detail . . . without turning dull; [Love Saves the Day] offers a non-hagiographic treatment of dance-music icons. . . and, perhaps best of all, Lawrence's riveting storytelling puts you deep in the proto-disco moment. . . . Love Saves the Day not only gets dance-music history right--it refocuses that history to include those unjustly excluded from it." -- Ethan Brown * New York *"[T]his is as close to a definitive account of Disco as we're likely to get, and as entertaining as a great night out." -- Richard Smith * Gay Times *"[T]o some, a respectful history of disco may seem as perverse as a paean to strip malls. Tim Lawrence's Love Saves the Day boldly overturns that story. . . . I, for one, won't be able to dismiss dance culture so quickly, and his book should become a fixture in the libraries of serious students of American pop." -- Philip Christman * Paste *"Lawrence has documented the scene with a fan's affection and a scholar's thoroughness. . . . His interview subjects, veteran DJs and clubgoers all, best convey in their own words what it was like to be on the dance floor at the Loft, the Gallery or the Paradise Garage when the crowd--drenched in sweat, screaming and whistling, arms in the air--gave itself up to rapture." -- Tom Beer * Newsday *"Thanks to an impressive amount of research Tim Lawrence . . . creates an evocative portrait of the Big Apple DJ demimonde of the 1970s." -- Peter Shapiro * The Wire *"THE book on club music in America—a massive volume that contains more information about the New York scene than we'd ever hoped to learn! The book fills in gaps that we've always been unsure of, and tells the full story of the evolution of New York dance in the 70s—going way past the hype!" * Dustygroove.com *"Tim Lawrence's disco culture tome is one of the sharpest books on dance music to date, striking a balance between you-are-there club descriptions, socioeconomic analysis, and musical critique." -- Tricia Romano * Village Voice *Table of ContentsFigures vii Preface xi Acknowledgments xvii Introduction 1 1. beginnings House Parties and Discotheques 5 2. consolidation Party Pariahs and the Path to Permanent Revolution 33 3. pollination The Rise of the Downtown Party Network 55 4. recognition The Crystallization of a Sound 83 5. visibility The Message of Love and the Disco Mix 117 6. expansion Record Pools, Music Labels, New Clubs 155 7. prominence Forums, Formats, Franchises 205 8. ascendancy Eurodisco, Midtown, Downtown, Out-of-Town 251 9. dominance Disco Takes Over 303 10. turbulence Backlash and Survival 363 Epilogue 433 Notes 443 Selected Discography 457 Selected Bibliography 473 Index 477

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Book SynopsisWe live in an electronic world. Electronic sounds and electronic music have long permeated our sonic landscape. What began as the otherworldly sounds of the film score for the 1956 film Forbidden Planet and the rarefied, new timbres of Stockhausen’s Kontakte a few years later, is now a common soundscape in technology, media and an array of musical genres and subgenres. More people than ever before can produce and listen to electronic music, from isolated experimenters, classical and jazz musicians, to rock musicians, sound recordists and the newer generations of electronic musicians making hip-hop, house, techno and ambient music. Increasingly we are listening to electronic sounds, finding new meanings in them, experimenting with them and rehearing them as listeners and makers. Live Wires explores how the five key electronic technologies – the tape recorder, circuit, computer, microphone and turntable – revolutionized musical thought. Featuring the work of major figures from Schaeffer, Varèse, Xenakis, Babbitt and Oliveros to Eno, Keith Emerson, Grandmaster Flash, Juan Atkins and Holly Herndon, Live Wires presents many of the powerful musical ideas that are being recycled, rethought and remixed by some of the most electrifying composers and musicians today.Trade Review'The writing is easy to read, knowledgeable without being painfully esoteric . . . This is a wonderful guide through a still-evolving phenomenon and one that now, more than ever, deserves our attention.'-Spectrum Culture; 'A good introduction to the artistic aims and means of an ever-expanding sound world, and – from Varèse to Blondie to Squarepusher to DJ Shadow – makes for an invigorating and nostalgic playlist.'-BBC Music Magazine; 'A sonic adventure well worth reading.'-Leonardo; 'Definitely best consumed whilst imbibing his excellent chapter of recommended listening.'-Shindig; 'If we dare mention Christmas, this book would make a perfect stocking filler for Electronica fans… oh, right. Yes, that’s you. Self-gift?'-Electrowow; 'There can’t really be two ways to say this: Dan Warner’s Live Wires is a good book. Dan Warner’s intimately experiential/technical descriptions of his favorite instances of every kind and genre of electronic music in the experimental culture – a culture that almost obliterated the boundaries between “classical” and “pop” – will get you right inside of his sensitively perceptive ear and his deep knowledge and understanding of the sense and implication of what he has, and you will, come to hear.'-Benjamin Boretz, composer

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Book SynopsisOne of the true musical geniuses of the late 20th and early 21st century, Richard D. James has continued to be a pioneer in the electronic music landscape throughout his prolific, multi-faceted career. James, under his myriad of aliases, laid the foundation for ambient techno, drill 'n' bass and dark ambient across the span of six phenomenal studio albums and a multitude of EPs and side projects. Alongside this, he crafted a unique visual identity, expressed through his iconic logo and video collaborations with Chris Cunningham. If that wasn't enough, he has become a figurehead for artists as diverse as Thom Yorke and Pharrell Williams. Year by year, the mythos surrounding him continues to grow, ensuring he remains as culturally prevalent as ever. With no new, officially released music since 2020, this book marks the perfect opportunity to track the course of James' sizeable catalogue. From the well-known to the obscure, the rapid bursts of activity in the 1990s to the so-called 'hiatus' in the 2000s, every corner of this formidable discography is examined in vivid detail, providing insight and an impetus to discover to new listeners and hardcore fans in equal measure.

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Book SynopsisExpanded, updated, and fully revised—the definitive introduction to electronic music is ready for new generations of students.Essential and state-of-the-art, The Computer Music Tutorial, second edition is a singular text that introduces computer and electronic music, explains its motivations, and puts topics into context. Curtis Roads’s step-by-step presentation orients musicians, engineers, scientists, and anyone else new to computer and electronic music.The new edition continues to be the definitive tutorial on all aspects of computer music, including digital audio, signal processing, musical input devices, performance software, editing systems, algorithmic composition, MIDI, and psychoacoustics, but the second edition also reflects the enormous growth of the field since the book’s original publication in 1996. New chapters cover up-to-date topics like virtual analog, pulsar synthesis, concatenative synthesis, spectrum analysis by atomi

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Book SynopsisWhen a small group of enthusiasts rebelled against the increasing commercialisation of the rave scene, converting a derelict meat store in London into a venue seemed the only option to stay authentic. The meat store became and remains a cathedral for undiluted dance music with a global following.    This book celebrates Fabric's phenomenal impact on club culture over the past quarter of a century. Using oral history, photography, archival ephemera and club night artwork, 25 Years of Fabric tells the story of the misfits and visionaries who made it happen, the curators and resident DJs who kept the pure beats pulsing, and the devotees who filled the floor week after week, year after year. Through highs, lows and a campaign against enforced closure, Factory stands tall as an independent, resilient international cultural icon.

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Book SynopsisSo much, popular and scholarly, has been written about the synthesizer, Bob Moog and his brand-name instrument, and even Wendy Carlos, the musician who made this instrument famous. No one, however, has examined the importance of spy technology, the Cold War and Carlos''s gender to this critically important innovation. Through a postcolonial lens of feminist science and technology studies, Roshanak Kheshti engages in a reading of Carlos''s music within this gendered context. By focusing on Switched-On Bach (the highest selling classical music recording of all time), this book explores the significance of gender to the album''s--and, as a result, the Moog synthesizer''s--phenomenal success.Trade ReviewWendy Carlos’s Switched-On Bach is the type of entry that keeps me coming back to the 33 1/3 series. Khesti’s work has completely opened up my mind and understanding of what the Moog should be as a musical instrument and what Wendy Carlos hoped to accomplish by recording music as she did. * Bearded Gentleman Music *Roshanak Kheshti, the author of the new 33 1/3 book series entrant Wendy Carlos's Switched-On Bach, says Carlos was and remains a "foundational presence" to electronic music—and that the brief public acknowledgements she often garners today fall far short of the full story. * Reverb *Table of ContentsSwitched-On Prologue 1 Original Synth 2 Switching On 3 Switched-On Studio 4 Switched-On World Epilogue: Cats on Keys & Total Eclipses Acknowledgements Notes

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Book SynopsisIn the age of global capitalism, vaporwave celebrates and undermines the electronic ghosts haunting the nostalgia industry. Ours is a time of ghosts in machines, killing meaning and exposing the gaps inherent in the electronic media that pervade our lives. Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted." Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production. Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.

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Book Synopsis'Love this book! It triggers so many memories of the rave era. Thoroughly recommended.' - FATBOY SLIM 'Captures the hedonism and humour of the nineties with a laugh-out-loud honesty. The perfect Ibiza holiday read...if you can get it through customs!' - JUDGE JULES As a humble barman at the M25 Orbital raves, Kirk Field witnessed the moment acid house exploded. Inspired by media lies to start writing the truth about what he saw unfolding, Kirk became a 'raving' reporter for the clubbers' bible Mixmag, covering the historic parties from the inside and sending sweat-soaked dispatches from distant dancefloors as the scene expanded across Europe and beyond.With a cast of characters including Diego Maradona, Timothy Leary, the KLF, Michael Eavis, Genesis P-Orridge, Brigitte Nielsen, Boris Yeltsin, Boy George, Saddam Hussein's wife, the president of Tunisia, the CIA, the KGB, Dave Courtney, Norman Lamont's dominatrix and even Her Majesty the Queen, Kirk's whirlwind account of the golden age of clubbing tells the story of what really happened in the 'naughty '90s', exposing the seedy underbelly of rave culture while also capturing the nostalgic spirit of the era.Told through a mixture of vivid first-person narrative, surreal insider anecdotes and incisive social commentary, this honest, hilarious and uncensored postcard of hedonism will appeal to anyone who's ever put their hands in the air like they just don't care.Trade Review'Funny, intelligent and never sensationalised. Whether you're into the rave scene or not, this is an irrepressible read...starry-eyed and laughing rather than glazed and crazed. 4/5.' -- Record Collector'Never a dull moment.... packed to the eyeballs with vivid anecdotes and a five-star cast list.' -- Electronic Sound'(A) Fantastic account of the dance revolution...documented in exhilarating fashion. Rave New World is an intoxicating love letter to one of music's most misunderstood eras. 4/5.' -- Classic Pop'Love this book! It triggers so many memories of the rave era. Thoroughly recommended.' -- Fatboy Slim'Captures the hedonism and humour of the nineties with a laugh-out-loud honesty. The perfect Ibiza holiday read...if you can get it through customs!' -- Judge Jules'Like myself, Kirk was there right from the start of the 'rave new world', reporting and recording our revolution as it happened. This book is full of great tales and laughs - the perfect balance of history, hedonism and humour.' -- Slipmatt'There are quite a few books covering our culture, but THIS is the one.' -- DJ Fergie'Kirk Field took a fathoms deep dive in to the chaotic, curious, and sometimes highly ridiculous world of DJ's and nightclubbing and lived to tell the tale. And what a tale it is.' -- Richard Norris, The Grid'The rave era was a time of exploration and new possibilities and here Kirk Field documents his discoveries and experiences with skill, humour, and warmth. Whether you were there too, or just interested to learn more, this is a great read.' -- Nick Halkes, XL, Positiva Records'A wonderful first-hand account, direct from the front-line Kirk Field was right there in the eye of the storm of those early, incredible, halcyon days of Rave. His wide-eyed enthusiasm lights up every page as he blazes through anecdote after anecdote from a truly pivotal time in the UK's cultural history.' -- Dave Seaman, Mixmag editor, DJ, producer'Such an enjoyable book. I loved Kirk's playful style of writing and finding out about all his lively antics in clubland. Kirk is one of the most interesting people I've met in clubland, so it was a joy reading all the mischief he's got up to over the years.' -- Lisa Pin-Up, producer'An excellent insight to what it was like to eat, sleep and breathe the vibes of the original raves. I feel like I've been transported back in time and reliving the journey!' -- Aston Harvey, The Freestylers"Lively and relentless...Like a Forest Gump of clubland. A funny, insightful, exciting read that comes highly recommended.' -- Mixmag'Fascinating. A refreshing reminder that the scene was built on creativity, passion and a love of music and unity on the dance floor. A must read.' -- John Digweed'This book proves that time travel is possible. Every page will transport you back to the bass line that was the heartbeat of a revolution.' -- Gok Wan MBE'The book is honestly ace, proper laugh out loud stories.' -- James Atkin, EMF

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A creative analysis of the band's fifth album Very, "Smile If You Dare" examines topics as diverse as technological paradise, sexual paranoia and representations of class in British pop music. As well as a keen critical edge, itis equipped with an undisguised mad love for the source material, a sense of passionate abandon induced by the tragic/ecstatic synth-pop that pours out of the speakers.

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Book SynopsisStep into the vibrant and pulsating world of nightlife through the lens of Tough Luck, the Instagram account that has become the heartbeat of contemporary club and rave photography. Through the lenses of their talented photographers, they unfold the stories of the night, spotlighting clubs, festivals, and the diverse characters shaping nocturnal culture. While many rave photography books reminisce about the past, You Out Tonight? offers a fresh, contemporary experience. As you flip through the pages, you''ll find yourself immersed in the kaleidoscope of lights, colours, and emotions that define the modern clubbing experience. Whether you''re a seasoned partygoer or a curious observer, Tough Luck invites you to experience the magic, the chaos, and the indescribable beauty of the night. Prepare to be transported into a world where time stands still, and the only currency is the rhythm of the music.

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Book SynopsisWilliam L. Weir lives in Connecticut and writes regularly about music and the history of music technology. His work has appeared in The Atlantic, Slate, The Boston Globe, Hartford Courant, and other publications.Trade ReviewThis book is a concise history of the Radiophonic Workshop and to some extent a history of electronic music -- David Harris * Practical Wireless *Table of ContentsIntroduction: An Improbable Stew 1. Before the Workshop: Beeps, Bloops, and a Battle for the Nation’s Identity 2. “Vive Le Workshop!” 3. “Time Beat” and the Soul of a Machine 4. Way Out and Catchy! Doctor Who, and a New Era for the Workshop 5. Fragile Ribbons of Iron: A Chapter about Tape 6. Around the Office 7. The Art of Making Something from Nothing 8. Goons, Singing Dogs, and Chirping Percolators 9. The World as Their Instrument 10. The Impact of the Radiophonic Workshop 11. Team Tape versus Team Synth 12. The End, and a New Appreciation Acknowledgments Notes

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Born in Moscow, Wladimir Kaminer emigrated to Berlin in the early ''90s when he was 22. Russian Disco is a series of short and comic autobiographical vignettes about life among the émigrés in the explosive and extraordinary multi-cultural atmosphere of ''90s Berlin. It''s an exotic, vodka-fuelled millennial Goodbye to Berlin. The stories show a wonderful, innocent, deadpan economy of style reminiscent of the great humorists. [Several of his European editors make a comparison with current bestseller David Sedaris.] Kaminer manages to say a great deal without seeming to say much at all. He speaks about the offbeat personal events of his own life but captures something universal about our disjointed times.

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Book SynopsisKorngold in America offers new ways of listening to the film scores and post-Hollywood concert works of Erich Wolfgang Korngold (1897--1957), a Viennese-raised Austro-Hungarian composer who left Europe for Hollywood in the mid-1930s to write for Warner Bros. It reassesses Korngold's place in twentieth-century music historiography and dismantles many of the myths that have obscured a proper understanding of his work. Drawing on previously unpublished archival materials, Korngold in America reveals Korngold's commercial and artistic relationships with studio processes and staff, highlights aspects of his compositional practice, and traces the way in which he adapted his skills as a musical dramatist and experienced opera composer to the demands of film. The book presents a more complete picture of Korngold's artistry than has hitherto been possible, showing both the important role played by his music in the Hollywood films of which it is a part and the importance in turn of Hollywood fil

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Book SynopsisThis Element explores how 'tarab' lives on in new contexts through a focus on the work of Hello Psychaleppo, one of Aleppo's displaced musicians and the pioneer of 'electro-tarab', an eclectic style of urban electronic dance music that is conceived as a homage to Aleppo's musical legacy.Table of ContentsIntroduction; 1. 'Im al-Tarab': musical myths and afterlives; 2. 'Shahba': an aesthetic of displacement; 3. 'Radio Beirut': samples as codes; Conclusion; Epilogue.

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This Element explores the intersection of data sonification and musical composition. It offers an original model and insights for composers and science communicators. It explores techniques, models, translation, data fidelity, analogic and symbolic mapping, temporality, and listener experience, and how sonification can enrich composition.

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Book SynopsisMusicians are always quick to adopt and explore new technologies. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide range of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrÃte and elektronische Musik, and contemporary trends such as electronic dance music and electronica. The first edition of this book won the 2009 Nicolas Bessaraboff Prize as it brought together researchers at the forefront of the sonic explorations empowered by electronic technology to provide accessible and insightful overviews of core topics and uncover some hitherto less publicised corners of worldwide movements. This updated and expanded second edition includes four entirely new chapters, as well as new original statements from globally renowned artists of the electronic music scene, and celebrates a diverse array of techTable of Contents1. The origins of electronic music Andrew Hugill; 2. Electronic music and the studio Margaret Schedel; 3. Live electronic music Nicolas Collins; 4. A history of programming and music Ge Wang; Artists' statements I: Laurie Spiegel, Yasunao Tone, John Oswald, Mathias Gmachl (Farmers Manual), Erdem Helvacioglu, Pauline Oliveros, Chris Jeffs, Rodrigo Sigal, Mira Calix, Seong-Ah Shin, Carsten Nicolai, Warren Burt, Max Mathews; 5. Interactivity and live computer music Sergi Jordà; 6. Algorithmic composition Karlheinz Essl; 7. Live audiovisuals Amy Alexander and Nick Collins; 8. Network music Julian Rohrhuber; 9. Electronic music and the moving image Julio d'Escriván; Artists' statements II: Kevin Saunderson, Kanta Horio, Donna Hewitt, Alejandro Viñao, Bubblyfish Barry Truax, Lukas Ligeti (Burkina Electric), Christina Kubisch, Murat Ertel, Adina Izarra, CybOrk, Francis Dhomont, David Behrman, Kevin Blechdom (Kristin Erickson) Karlheinz Stockhausen, George E. Lewis; 10. Computer generation and manipulation of sounds Stefania Serafin; 11. Trends in electroacoustic music Natasha Barrett; 12. Electronic sound art and aesthetic experience Adinda van 't Klooster; 13. DIY and maker communities in electronic music John Richards; 14. Extending the instrumental sound world using electronics Monty Adkins; 15. The analysis of electronic music Mary Simoni; Artists' statements III: Éliane Radigue, Daniel Miller, Ikue Mori, Chris Carter and Cosey Fanni Tutti, Holly Herndon, Vince Clarke, Ralf Hütter, Hasnizam Abdul Wahid, Elsa Justel, Beatriz Ferreyra.

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Book SynopsisAram Yardumian is Assistant Professor at Bryn Athyn College, USA, specializing in the nexus connecting the Caucasus, Middle East, and South Asia. He has conducted fieldwork and research at multiple sites in these regions and has travelled worldwide. His publications include surveys of molecular genetics and ancient history, as well as intellectual history and critical reviews of arts and culture.Table of ContentsAcknowledgments Dramatis personae Preface Introduction: 'Signal' 1. The Voice of the Resistance 2. Paris, 1947 3. The Voice of the Avant-garde 4. The Voice of Cyrus 5. Shiraz, 1967–69 6. Paris, 1971 7. Persepolis, 1971 8. The Voice of Khomeini 9. Afterlife Endnotes Index

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Book SynopsisA thrilling, filmic immersion into Berlin's legendary club scene - a skillfully told novel about the fragility of life.Berlin, Görlitzer Park: The body of a young woman in a white wedding dress floats in the canal. Who is she, and where does she come from? Suspended drugs investigator Tommy trawls Berlin's clubs and criminal clans to uncover the woman's story.On his odyssey through the city, he meets survivors and fighters, the lost and stranded from all over the world: from the Japanese tattoo master to the Indian fire-eater. Wide awake and dead tired, suspended between a dreamscape and reality, Tommy dives deeper and deeper into the Berlin underworld and into his own past. A breathless noir novel that is as hard-hitting as it is emotional, exploring the fragility of life and our longing for community.PRAISE FOR One Clear, Ice-cold Morning at the Beginning of the Twenty-first Century"A highly original and often hypnotic work . . . exactly the type of book that readers in search of striking European voices should embrace" John Boyne (author of THE BOY IN THE STRIPED PYJAMAS), Irish Times"A brilliantly kaleidoscopic morality tale"- Eileen Battersby, Financial Times"A magnificent achievement, a novel of terrific originality" - Charlie Connelly, New European"The exhilarating narrative is wonderfully concise, and the imagery is intensely cinematic" - Barry Forshaw, GuardianTranslated from the German by Jamie BullochTrade ReviewTells an unaffected, gritty, exciting story that you can immediately imagine as a film -- Felix Mueller * Berliner Morgenpost *The panorama of characters is intoxicating -- Margarete Affenzeller * Der Standard *Schimmelpfennig the novelist, like the playwright, succeeds in making his characters lively and believable with just a few strokes -- Monika Wolting * literaturekritik.de *A restless novel written in clear language by a dramatist used to condensing events into vivid scenes. -- Anne Fritsch * Munich Feuilleton *An intoxicating sequence of scenes, with the sober realization that nothing can end well here -- Maike Schiller * Hamburger Abendblatt *A breathless noir novel full of fragile characters, an a powerfully compelling read - the pages practically turn by themselves -- Angelika Grabher-Hollenstein * APA *

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Book SynopsisThis new edition is the ultimate exploration of the upstart instruments ä and their unique analog growls and screams ä that paved the way over the last four decades for today''s fast-paced electronic music world. Explores the development of the modern synthesizer from 1962 on with in-depth interviews with pioneering designers Bob Moog and Alan R. Pearlman of Moog Music and ARP Instruments fame. These and other designers reveal their initial ideas reflect on their hits and misses and discuss how star performers have used their creations. Histories of groundbreaking instruments examine modular analog & digital synths and samplers plus more unusual instruments like the Mellotron. Noted synthesist Keith Emerson and composer Wendy Carlos ( Switched-On Bach ) offer musical insights and performance techniques. Includes fully updated pricing and production info and more than 200 photos and a stunning color section.

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Book SynopsisFour Ways of Hearing Video Game Music offers a novel account of the ways in which video games invite us to hear and listen to their music. By taking a phenomenological approach to characterize music in video games, author Michiel Kamp asks what it is we hear in the music when we play a game. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, Kamp explains four main ways of hearing the same piece of music--through background, aesthetic, ludic, and semiotic hearing. As a background, music is not attended to at all, but can still be described in terms of moods, affordances, or equipment. Aesthetic hearing is a reflective attitude that invites hermeneutic interpretation; ludic hearing on the other hand invites playing along to the music, either through embodied movement, or in response to the music''s cinematic or theatrical connotations. Finally, in semiotic hearing, Kamp argu

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Book SynopsisBig Beat was once one of the biggest, but ironically, perhaps most misunderstood musical movements of the Mid-Late 1990's, lead by some of the biggest artists the Electronic Dance Music scene has ever seen, such as Fatboy Slim (AKA Norman Cook), The Chemical Brothers and The Prodigy. It's loud, eclectic sound with it's syncopated beats was a smash around the world, leading to nights of boozy (but good natured) hedonism, and it was the soundtrack to the advertising world of the late 1990's and early 2000's. But, somewhere along the way, the genre got a massive backlash from critics, leading to a very quick and painful death, and became the very victim of it's own success. Where did it go wrong and is there a chance for the scene to experience a revival? With new and exclusive interviews with Rory Hoy from 120 of those who were in the thick of it (including Fatboy Slim and Liam Howlett and Keith Flint from The Prodigy) - this is a celebratory (and sometimes humorous) look at a music scene that was short lived . . but had a very big impact.

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Trade ReviewIn this brilliant study of a local culture's transnational dynamics and dimensions, Alejandro Madrid reveals how radical changes in contemporary commerce and culture are imbuing old identities, borders, and boundaries with new meanings. * George Lipsitz, author of Footsteps in the Dark *The Nortec Collective stands astride the US/Mexico border creating an art of hope and adaptation. This music represents all that is possible along the new frontier, and it has fomented a movement of art and film and literature that is unique in the world. Alejandro Madrid's masterful study of this brilliant hybrid stands as one of the important texts in the history of the new, shining, borderlands. Nortec sings, 'Tijuana makes me happy.' This work makes us happy to be alive. * Luis Alberto Urrea, author of The Devil's Highway and The Hummingbird's Daughter *Alejandro Madrid is an amazing thinker. His fresh theoretical insights are synthesized from a broad base of knowledge and disciplines. This work will appeal to anyone interested in border studies and contemporary societal trends, as well as those with an interest in contemporary music and activism through music. * Brenda M. Romero, Associate Professor of Musicology and Ethnomusicology, University of Colorado *Alejandro Madrid has brilliantly captured Nor-tec's burst into the twenty-first century. This is an innovative book that effectively balances traditional with virtual fieldwork, musical analysis with a cultural-oriented approach, and theoretical reflections with empirically grounded investigations. Madrid's critical mind and analytical skills meet the ingenuity and eloquence of the Nortec Collective. * Helena Simonett, Vanderbilt University, author of Banda: Mexican Musical Life across Borders *Nor-tec has spawned audio imitators, Volvo ads, t-shirts, and indie films, popped up everywhere from art installations to MTV and HBO, and now Tijuana's first-next-big-global-thing finally has its own full-scale scholarly book that lends a critical ear to border beats. With a focused and serious mix of theory, interviews, and lots of listening during long nights in Tijuana clubs, Madrid has done the music and the scene a great service by unraveling its histories and dissecting its meanings for fans and scholars alike. * Josh Kun, University of Southern California, author of Audiotopia: Music, Race, and America *Table of ContentsList of Figures ; List of Music Examples ; Acknowledgements ; Introduction: Nor-tec and the Borders ; 1. Origins Revisited. Myth and Discourse in the Nortec Collective ; 2. Tradition, Style, Nostalgia, and the Kitsch ; 3. Getting the Word Around ; 4. "Where is the Donkey Show Mr. Mariachi?" Reterritorializing TJ ; 5. Producers, DJs, Fans, and the Performance of Nor-tec ; 6. Dancing with Desire ; 7. Nor-tec and the Postnational Imagination ; Bibliography

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Book SynopsisSpecial Sound traces the fascinating creation and legacy of the BBC''s electronic music studio, the Radiophonic Workshop, in the context of other studios in Europe and America. The BBC built a studio to provide its own avant-garde dramatic productions with experimental sounds neither music nor sound effect. Quickly, however, a popular kind of electronic music emerged in the form of quirky jingles, signature tunes such as Doctor Who, and incidental music for hundreds of programs. These influential sounds and styles, heard by millions of listeners over decades of operation on television and radio, have served as a primary inspiration for the use of electronic instruments in popular music.Using in-depth research in the studio''s archives and papers, this book tells the history of the many engineers, composers, directors, and producers behind the studio to trace the shifting perception towards electronic music in Britain. Combining historical discussion of the people and instruments in theTrade Reviewimmaculately researched. * Mark Brend, Record Collector *excellent ... [Neibur] draws on specially undertaken and published interviews with key participants, as well as a treasure trove of written material from the BBC Written Archives Centre, and original programmes. * Timothy Boon, British Journal for the History of Science *Niebur's research into this early history of the BBC Radiophonic Workshop is wickedly illuminating * David Toop, Times Higher Education *Louis Niebur delves illuminatingly into a hitherto untold story to throw a deserved spotlight on the creative talents involved. * Michael Quinn, Editor's Choice for 2011, Classical Music Magazine *Table of ContentsABOUT THE COMPANION WEBSITE; ENDNOTES; APPENDIX: TRANSCRIPTIONS; BIBLIOGRAPHY; INDEX

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Book SynopsisListening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.Trade Reviewa thought-provoking and significant contribution to our understanding of the aesthetics of electronic music. * Peter Manning, Music and Letters *Table of ContentsAcknowledgements Introduction Part One: Sign Chapter One: Listening to Signs in Post-Schaefferian Electroacoustic music Chapter Two: Material As Sign In Electronica Part Two: Object Chapter Three: Minimal Objects In Microsound Chapter Four: Maximal Objects in Drone Music, Dub Techno, and Noise Part Three: Situation Chapter Five: Site in Ambient, Soundscape, and Field Recordings Chapter Six: Genre, Experimentalism, and the Musical Frame Conclusion Notes Glossary Bibliography Discography

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Book SynopsisElectronic music instruments known as synthesizers have been around since the 1950s, but the past few decades have seen their capabilities expand exponentially and their forms shape-shift from room-filling grandeur to sophisticated applications that run on pocket-sized phones and MP3 players. This book reveals the history, basics, forms, and uses of this astonishing instrument.Trade ReviewSynthesizers are wonderful musical instruments that cover a very wide range of implementations and uses. Mark Vails The Synthesizer is a must-read for anyone who has interest in learning about these engineering marvels. It is a great introduction if you are new to synths, but also very informative and up-to-date for the seasoned synth player. * Dave Smith, Dave Smith Instruments *A hugely detailed, exhaustively researched and splendidly idiosyncratic work which nails its extensive subject matter. Mark Vail enthusiastically charts the development of the synthesizer from the Trautonium to the latest software instruments, and also gives us valuable insights and tips from leading electronic composers, including legendary synth pioneer Wendy Carlos. * Dave Stewart, Keyboardist *In the past few decades, the synthesizer has finally come of age. Mark Vail's extensive work documents this journey from its austere and rarified beginnings to its present technologically sophisticated state. His well-illustrated book is filled with anecdotes and insights, amazing successes and ridiculous flops, expert advice on how to roll your own, lots of commentary on artists, their gear and their methodology, and finally, a guide to recording and disseminating your own musical masterpieces. Stash this volume where its easy to get to; you'll be using it a lot. * Don Buchla, Composer and Instrument Designer, Berkeley, California *Mark Vail is the best explainer and historian of music synthesizers that I know. I highly recommend this book, which is a whole lot of fun to read. * Roger Linn, Roger Linn Design *Table of ContentsForeword by Michelle Moog-Koussa ; Preface ; About the Companion Website ; 1. Trendsetting All-Stars ; 2. Acoustics & Synthesis Basics ; Real-World Acoustics ; Types of Synthesis ; Audio Sources: Oscillators, Noise, & More ; VCAs, Envelopes, & LFOs ; Envelope Followers & Pitch-to-Voltage Converters ; Filters ; EQs & Filter Banks ; Analog Sequencers ; Arpeggiators ; Reverb ; Analog Delay ; Digital Delay ; Loopers ; Other Effects ; 3. Choosing Your Synthesizer(s) ; What's Your Budget? ; Musical Tastes & Goals ; Hardware vs. Software ; Portability & Power ; Programmability: Pros & Cons ; Expandability ; As Others Have Done ; Perspective ; Modular Synthesizers in the 21st Century ; An Overview ; Modular Synth Shopping ; More on Eurorack Modular ; More on FracRak Modular ; More on Serge Modular ; Connectivity ; Convincing Analog & MIDI Synths to Coexist ; MIDI-to-CV Conversion ; CV-to-MIDI Conversion ; Controllers ; Synths & Controllers with Keyboards ; Alternative Controllers ; Wind Controllers ; Touch Controllers ; Hand-Held Controllers ; Struck Controllers ; Controllers for Microtonal Tunings ; 4. Composition, Programming, & Performance Techniques ; Composition ; Scoring to Picture ; Composing for Living Art ; Following Through on a Thought ; Sage Advice from a Master ; Scoring with Intent, Even When Intimidated ; Patching, a.k.a. Programming ; Encouraging Synthesists' Creativity ; When & How to Experiment with Sounds ; The Good & Bad of Non-Programmability ; Programming for Progress ; Fun with Modular Synths ; Layering Synth Sounds ; Programming for Expression ; Performance ; Tools of the Trade ; Dependence on the Tried & True, but Moving Forward ; Modular Apparitions ; Defying the Dependence on Visuals ; 5. Recording the Synthesizer ; As It Was & How It's Become for the Switched-On Innovator ; Serial vs. Random-Access Media ; Strategies for Recording Film & TV Scores ; Harnessing the Power of Modular Synths with Ableton Live ; Automated Mixing ; Outboard Processing: Preparing Audio for Recording ; Recording Direct & Expanding for Surround-Sound ; Appendix: Selected Bibliography, Museums & Films, Manufacturers, Blogs, Dealers & Stores ; Index

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Book SynopsisIn Assimilate, S. Alexander Reed provides the first ever critical history of industrial music. Through a series of revealing explorations of works spanning the entirety of industrial music's past, and drawing on extensive interviews, Reed paints a thorough historical picture that includes not only the bands, but the structures that supported them, and the scenes they created.Trade ReviewAssimilate succeeds in providing an absorbing and extensive introduction to the industrial scene. * Rob Upton, University of Nottingham, Music and Letters *Well-written and impeccably researched, Assimilate is worth a look not only by music fans looking to learn about this industrial wall of sound, but also by scholars of pop culture wondering why the kids feel the way they do. * Electric Review *Table of ContentsIntroduction ; 1. A Fading Vision Lost in Time ; 2. The Pan-Revolutionary ; 3. The "I"-Word ; Part 1: Technology and the Preconditions of Industrial Music ; I. Italian Futurism ; 1. Industry ; 2. The Aesthetics of the Machine ; 3. Crash ; II. William S. Burroughs ; 1. Junkie ; 2. The Control Machines ; 3. Brainwashing and the Conflation of Authority ; 4. Mediatic Verses ; 5. The Cut-Up ; 6. Process as Composition ; 7. Media ; 8. Techno-Ambivalence ; III. Industrial Music and the Avant-Garde ; 1. Noise and Revisionism ; 2. The Revolutionary Class ; Part 2: Industrial Geography ; IV. Northern England ; 1. Progress in Hell ; 2. The Original Sound of Sheffield ; 3. Meatwhistle and ClockDVA ; 4. Throbbing Gristle ; 5. Manchester in the Shadow of War ; V. Berlin ; 1. An Island Out of This Planet ; 2. Strategies Against Architecture ; 3. German-ness ; 4. Ingenious Dilettantes ; 5. West Germany Beyond Berlin ; VI. San Francisco ; 1. Madness in Any Direction, at Any Hour ; 2. Monte Cazazza and Self-Propaganda ; 3. Z>'ev and Survival Research Laboratories ; 4. Factrix and Chrome ; VII. Mail Art, Tape Technology, and the Network ; 1. Fluxus and UFOs ; 2. A History of Tape Trading ; 3. Taping as a Political Act ; 4. The Eternal Network ; 5. A Virtual Scene ; Part 3: Industrial Music as Music ; VIII. The Tyranny of the Beat: Dance Music and Identity Crisis ; 1. Those Heady Days of Idealism Are Over ; 2. Irony ; 3. Technology and Rhythm ; 4. Futurist Pop ; 5. Pleasure ; 6. Industrial Identity ; IX. <"After Cease to Exist>": England 1981-1985 ; 1. The Mission is Terminated ; 2. London ; 3. Beyond London ; X. Body to Body: Belgian EBM 1981-1985 ; 1. A Satellite State ; 2. Luc Van Acker ; 3. Front ; 4. Musical Order ; 5. Bodily Order ; XI. Industrial Music as a Theatre of Cruelty ; 1. Artaud-Damaged ; 2. Theatricalities of All Kinds ; XII. "She's a Sleeping Beast": Skinny Puppy and the Feminine Gothic ; 1. From Pop to Puppy ; 2. Vancouver's Fertile Ground ; 3. Disrupting Maleness ; 4. The Feminine Gothic ; Part 4: People and Industrial Music ; XIII. Wild Planet: WaxTrax! Records and Global Dance Scenes ; 1. Industrial Music and the Mainstream ; 2. The Beginnings of WaxTrax! ; 3. Ministry ; 4. Mixing and Merging ; 5. The Business of Chaos ; 6. Clubbing and Participatory Culture ; 7. New Beat ; 8. The WaxTrax! Heyday ; XIV. Q: Why Do We Act Like Machines? A: We Do Not. ; 1. Pretty Hate Machine ; 2. Industrial Harmony ; 3. Language, the Self, and Gender ; 4. Get Me an Industrial Band ; 5. Resembling the Machine ; XV. Death ; 1. Death as Event ; 2. Death as Metaphor ; 3. Death as Fashion ; 4. New Life ; XVI. Wonder ; 1. Covenant and the Ubiquitous Sublime ; 2. Apoptygma Berzerk and the Spontaneous Sublime ; 3. VNV Nation and the Unthinkable Sublime ; 4. The Futurepop Backlash ; 5. Clubbed to Death ; 6. The Longevity of Industrial Bands ; 7. Industrial Music Is Dead? ; Part 5: Meaning and Revolution ; XVII. Back and Forth: Industrial Music and Fascism ; 1. Extremism as the Norm ; 2. Silent Politics ; 3. Loud Apolitics ; 4. The Effects of Fascism's Spectre ; 5. Fascist Assimilation ; 6. The Hidden Reverse ; XVIII. White Souls in Black Suits: Industrial Music and Race ; 1. Whiteness ; 2. The Inheritance of Blues, Jazz, and Dub ; 3. Exotica, Caricature, and the Techno-Oblivious ; 4. Technology and Racial Engagement ; 5. Black and White ; 6. Repetition and the English Ballad ; XIX. Is There Any Escape for Noise? ; 1. Unpalatable Truths ; 2. The First Two Options ; 3. Transgression as Law ; 4. The Future Happened Already ; 5. Pleasure, Flag Planting, and Revolution ; 6. The Third Mind

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Book SynopsisRefining Sound is a practical roadmap to the complexities of creating sounds on modern synthesizers. As author, veteran synthesizer instructor Brian K. Shepard draws on his years of experience in synthesizer pedagogy in order to peel back the often-mysterious layers of sound synthesis one-by-one. The result is a book which allows readers to familiarize themselves with each individual step in the synthesis process, in turn empowering them in their own creative or experimental work. The book follows the stages of synthesis in chronological progression, starting readers at the raw materials of sound creation and ultimately bringing them to the final polishing stage. Each chapter focuses on a particular aspect of the synthesis process, culminating in a last chapter that brings everything together as the reader creates his/her own complex sounds. Throughout the text, the material is supported by copious examples and illustrations as well as by audio files and synthesis demonstrations on a related companion website. Each chapter contains easily digestible guided projects (entitled Your Turn sections) that focus on the topics of the corresponding chapter. In addition to this, one complete project will be carried through each chapter of the book cumulatively, allowing the reader to follow - and build - a sound from start to finish. The final chapter includes several sound creation projects in which readers are given types of sound to create as well as some suggestions and tips, with final outcomes is left to readers'' own creativity. Perhaps the most difficult aspect of learning to create sounds on a synthesizer is to understand exactly what each synthesizer component does independent of the synthesizer''s numerous other components. Not only does this book thoroughly illustrate and explain these individual components, but it also offers numerous practical demonstrations and exercises that allow the reader to experiment with and understand these elements without the distraction of the other controls and modifiers. Refining Sound is essential for all electronic musicians from amateur to professional levels of accomplishment, students, teachers, libraries, and anyone interested in creating sounds on a synthesizer.Trade ReviewShepard employs an inviting and accessible writing style to explain advanced topics in a way that is easy to understand. This book demystifies many of the topics of synthesis that can be confusing to people. * VJ Manzo, Assistant Professor of Music Technology, Worcester Polytechnic Institute, and author of Max/MSP/Jitter for Music *Refining Sound is an approachable introduction to the secrets of synthesis. The companion website is chock full of tutorials, making this well organized book a handy reference for either self-study or in a course. * Mary Simoni, Ph.D., Professor Emerita, University of Michigan, Dean, Rensselaer Polytechnic Institute *In Refining Sound, Brian Shepard provides a deeply valuable and sorely needed resource for the musician seeking to understand sound design. In clear language, he thoroughly explains and illustrates concepts that could be tedious and overwhelming for most readers, and does so from the perspective of the musician rather than the mathematician or physicist. I'm sure we will use this book as the primary text in our synthesis classes for years to come. * Scott L. Phillips, PhD, Co-director of Music Technology, The University of Alabama at Birmingham *Brian K. Shepard's book on synthesizers and synthesis is one of those rare volumes which is comprehensive in its explanations of the history of synthesizers and electronic music in general that makes for a jolly good read. For enthusiasts and professionals alike, this book is the best I've read in years. Thoroughly recommended. * J. Peter Robinson, Composer *Table of ContentsForeword ; Preface ; Acknowledgements ; About the Companion Website ; Introduction: Getting the Most Out of This Book ; 1: Synthesis and Synthesizers: Digging Beneath the Surface of Your Synthesizer ; 2: Oscillators: Mining the Raw Materials of Your Synthesizer ; 3: Oscillator Combinations: Creating Exotic Compounds from Your Raw Materials ; 4: Amplitude Envelope Generators: Shaping Your Sounds ; 5: Audio Filters: Refining the Color of Your Sounds ; 6: Internal Modulation Sources: Dynamic Shaping of Your Sounds ; 7: External Control Sources: Shaping Your Sounds with Playing Techniques ; 8: Effects Processors: Polishing Your Sounds ; 9: Putting It All Together: Creating and Refining Your Own Synthesized Sounds ; Appendix I: Further Reading and Information ; Appendix II: Suggestions for the Instructor ; Index

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Book SynopsisSean Albiez is the Programme Group Leader for Popular Music at Southampton Solent University. He has been an active musician since the mid-1980s, and has published scholarly work about John Lydon, Krautrock, and Madonna. David Pattie is Professor in Drama in the Department of Performing Arts at the University of Chester, where he also taeches on the MA in Popular Music. He is the author of Rock Music in Performance (2007) and The Complete Critical Guide to Samuel Beckett (2001).Trade Review"No one but C-3PO makes love to Kraftwerk. No one liked them much to begin with - certainly not in Germany.Yet they eventually managed to attract sufficient critical mass to create a new star. And everyone else found themselves firmly in orbit.This book of original essays scrutinises their cultural influence from all angles. Here, Kraftwerk are cast as Cousins of Iggy Pop, Duchamp, Gilbert and George, Heirs to Hitler, Stockhausen, Gropius and The Beach Boys. Brothers of Beuys and Bambaataa, Kin to Kiefer, Godfathers of British Pop, Uncles of Rave, Midwives of Detroit Techno, Sperm Donors of Dance - as mysterious and potent as the monoliths in 2001, as daft as Punk, as indispensible to understanding modern culture as Musclebuilding, Warhol, or Strictly Ballroom.If this book were a film, it would move from macro to micro every scene, if it were a meal it would be prepared by Heston Blumenthal. It's a mutation waltz, a stumble rumba, a nimble mambo, a complex minuet - and proof that cultural critics can dance." - John Foxx, synthpop pioneer and multi-media artist"Overall, one comes away from Kraftwerk: Music Non-Stop with the impression of Hutter, Schneider and co creating a multifaceted oeuvre on a par with that of Andy Warhol's, a brief phase from either's artistic corpus capable of generating an entire career for lesser talents."-The Wire‘It is refreshing to encounter Kraftwerk: Music Non-Stop, a new collection of academic essays on the band, which spurns fashion and firmly returns the emphasis to ideas. Editors Sean Albiez and David Pattie have assembled a compendium of rigorously argued and illuminating discussions of the band, one that more than compensates for the shallower latter-day ramifications of what Alex Seago termed in 2004 the "Kraftwerk-Effekt".' -- The Oxonian ReviewTable of ContentsPart One: Music and Contexts; Part Two: Influence.

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Book SynopsisWhen a mix of ideas and influences with no common theme or spirit, apart from one of desperation, becomes one of the most well-known bands of the 90s ...Mike Edwards is the singer, guitarist, and primary songwriter for the British alternative-rock band, Jesus Jones. Among having multiple chart-topping hits, releasing several albums throughout the last 3 decades, and being awarded Best New Band at the MTV Music Awards in 1991, Jesus Jones are widely known for their #1 international hit, 'Right Here, Right Now.' Jesus Jones continues to tour and record, now with a renewed vigor after being able to control their own destiny, freed from the grips of major labels. Mike’s debut novel, Death Threats from an Eight-Year-Old, chronicles how fast a band that is number one everywhere in the world can plummet from the good graces of the press, labels, radio, MTV, and even so-called diehard fans. A true introspective about the cutthroat music business told through the eyes and words of a man who experienced fronting one of the most well-known bands of their time, to finding his band label-less and shunned in a blink of an eye.

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Book SynopsisThe arrival of a new style of music and a new type of drug in 1988 ignited a revolution. To coincide with the 25th anniversary of the second summer of love, this is the definitive story of the seismic movements in music and youth culture that changed the cultural landscape forever. Luke Bainbridge is uniquely positioned to tell this story, having connections both in the industry, through nearly two decades as a music journalist, and on the dancefloor, through two decades of dancing, promoting and DJing. Bainbridge has interviewed most of the protagonists who led the revolution, from the DJs and musicians to the promoters, gangsters and ravers, and built up a relationship of trust and mutual respect. This will be true story of acid house, from the DJ box to the dancefloor. He examines the legacy and lasting impact of acid house, and how the second summer of love is viewed 25 years on. How has acid house been assimilated into mainstream culture? How did the change in drugs, away from ecstasy towards other drugs, affect the music and the party scene? Why has the free party scene never really been replicated, despite new technology greater capacity to organise events and disseminate information? Did the summer of 1988 leave us with a generation of drug users? Has there been any lasting effect of such an explosion in drug use? Who were the real winners and casualties in the story? Do the world's current biggest DJs - Tiesto, Swedish House Mafia, David Guetta have any connection to the original scene? Where next for house and dance music in general?

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