"Electronic and Experimental Music" provides a thorough treatment of the relevant history behind the marriage of technology and music that has led to the state of electronic music today. Drawing widely on innovations from the worlds of classical music, rock and roll, hip hop, popular music, jazz, and modern dance, it covers the chronology of electronic music in separate parts d...(展开全部)

Electronic and Experimental Music provides a thorough treatment of the relevant history behind the marriage of technology and music that has led to the state of electronic music today. Drawing widely on innovations from the worlds of classical music, rock and roll, hip hop, popular music, jazz, and modern dance, it covers the chronology of electronic music in separate parts dev...(展开全部)

Electronic and Experimental Music: Technology, Music, and Culture, Sixth Edition, presents an extensive history of electronic music—from its historical beginnings in the late nineteenth century to its everchanging present—recounting the musical ideas that arose in parallel with technological progress. In four parts, the author details the fundamentals of electronic music, its h...(展开全部)

This updated and expanded third edition of Peter Manning's classic text, Electronic and Computer Music, deals with the development of the medium from its birth to the 21st century. The first section of the book, which remains essentially unchanged in this edition, covers electroacoustic music from its beginning at the turn of the century to 1945, the development of post-1945 'c...(展开全部)

Michael Nyman's book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing which developed alongside, and partly in opposition to, the post-war modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John...(展开全部)

Contemporary electronic music has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? And is there even a place for aesthetics in twenty-first-century culture? Liste...(展开全部)

Contemporary electronic music has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? And is there even a place for aesthetics in twenty-first-century culture? Liste...(展开全部)