Electronic and Experimental Music: Technology, Music, and Culture

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Routledge, May 22, 2012 - Music - 568 pages

Electronic and Experimental Music: Technology, Music, and Culture, Fourth Edition provides a comprehensive history of electronic music, covering key composers, genres, and techniques used in both analog and digital synthesis. This textbook has been greatly expanded and revised with the needs of both students and instructors in mind. The reader-friendly style, logical organization, and pedagogical features provide easy access to key ideas, milestones, and concepts. Now a four-part text with fourteen chapters, the new fourth edition features new content:

  • Audio CD of classic works of electronic music—a first for this book.
  • Listening Guides providing annotated, moment-by-moment exploration of classic works—a new chapter feature that improves critical listening skills.
  • Expanded global representation with new discussions of classic electronic music in the United Kingdom, Italy, Latin America, and Asia
  • New discussion of early experiments with jazz and electronic music
  • More on the roots of electronic rock music.
  • Additional accounts of the under-reported contributions of women composers in the field, including new discussions of Daphne Oram, Delia Derbyshire, Lily Greenham, Teresa Rampazzi, and Jacqueline Nova
  • Two appendices that trace the evolution of analog and digital synthesis technology.

The companion website, launching June 2012, includes a number of student and instructor resources, such as additional Listening Guides, links to audio and video resources on the internet, PowerPoint slides, and interactive quizzes.


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Analog Synthesis and Instruments
Digital Synthesis and Computer Music
The Music
Pioneering Works of Electronic Music
The Evolution of Analog Synthesizers
The Evolution of Computer Music
Notes on the Audio CD

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About the author (2012)

Thom Holmes is a composer and music historian. He studied composition with Paul Epstein in Philadelphia, was the longtime publisher of the magazine Recordings of Experimental Music (1979–85), and worked with John Cage.

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