The Cambridge Companion to Electronic Music

doi:10.1017/CCOL9780521868617

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LATARTARA, JOHN 2010. Laptop Composition at the Turn of the Millennium: Repetition and Noise in the Music of Oval, Merzbow, and Kid606. Twentieth-Century Music, Vol. 7, Issue. 1, p. 91.

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2016. The Cambridge Companion to Film Music. p. 413.

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Saladin, Matthieu 2017. Electroacoustic Feedback and the Emergence of Sound Installation: Remarks on a line of flight in the live electronic music by Alvin Lucier and Max Neuhaus. Organised Sound, Vol. 22, Issue. 2, p. 268.

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Maes, Pieter-Jan Nijs, Luc and Leman, Marc 2018. Springer Handbook of Systematic Musicology. p. 793.

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Heister, Hanns-Werner 2021. Music and Fuzzy Logic. Vol. 406, Issue. , p. 119.

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Cheng, Yu 2023. Multimedia programmes: creating computer music to enhance creative thinking. Interactive Learning Environments, Vol. 31, Issue. 10, p. 6497.

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Edited by Nick Collins, University of Sussex, Julio d'Escrivan, Anglia Ruskin University, Cambridge

Publisher:: Cambridge University Press
Online publication date:: September 2011
Print publication year:: 2007
Online ISBN:: 9781139001762
DOI:: https://doi.org/10.1017/CCOL9780521868617

Subjects:: Twentieth-Century and Contemporary Music, Music, Music: General Interest, Music Performance
Collection:: The Cambridge Companions to Music
Series:: Cambridge Companions to Music

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Musicians 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 diversity of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrète and elektronische musik, and contemporary trends such as electronic dance music and electronica. A fascinating array of composers and inventors have contributed to a diverse set of technologies, practices and music. This book brings together some novel threads through this scene, from the viewpoint of researchers at the forefront of the sonic explorations empowered by electronic technology. The chapters provide accessible and insightful overviews of core topic areas and uncover some hitherto less publicised corners of worldwide movements. Recent areas of intense activity such as audiovisuals, live electronic music, interactivity and network music are actively promoted.

Winner of the Nicolas Bessaraboff Prize 2009 for the most distinguished book-length work in English

"This is an indispensable resource for newcomers hoping to gain a practical understanding of the culture and creation of contemporary electronic music." --Choice

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The Cambridge Companion to Electronic Music

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

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Contents

Frontmatter
pp i-xxii

Introduction
pp 1-4

Part I - Electronic music in context

1 - The origins of electronic music
pp 5-23

2 - Electronic music and the studio
pp 24-37

3 - Live electronic music
pp 38-54

4 - A history of programming and music
pp 55-86

Part II - Electronic music in practice

5 - Interactivity and live computer music
pp 87-106

6 - Algorithmic composition
pp 107-125

7 - Live audiovisuals
pp 126-139

8 - Network music
pp 140-155

9 - Electronic music and the moving image
pp 156-170

10 - Musical robots and listening machines
pp 171-200

Part III - Analysis and synthesis

11 - Computer generation and manipulation of sounds
pp 201-217

12 - The psychology of electronic music
pp 218-231

13 - Trends in electroacoustic music
pp 232-255

Notes
pp 256-263

References
pp 264-279

Index
pp 280-287

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The Cambridge Companion to Electronic Music

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