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Cover: 9780190868208 | Electronic Inspirations | Jennifer Iverson | Taschenbuch | Buch | 2018
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Electronic Inspirations
Technologies of the Cold War Musical Avant-Garde
Taschenbuch von Jennifer Iverson
Sprache: Englisch

36,80 €*

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Lieferzeit 1-2 Wochen

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Beschreibung
For a decimated post-war West Germany, the electronic music studio at the WDR radio in Cologne was a beacon of hope. Jennifer Iverson's Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde traces the reclamation and repurposing of wartime machines, spaces, and discourses into the new sounds of the mid-century studio. In the 1950s, when technologies were plentiful and the need for reconstruction was great, West Germany began to rebuild its cultural prestige via aesthetic and technical advances. The studio's composers, collaborating with scientists and technicians, coaxed music from sine-tone oscillators, noise generators, band-pass filters, and magnetic tape. Together, they applied core tenets from information theory and phonetics, reclaiming military communication technologies as well as fascist propaganda broadcasting spaces. The electronic studio nurtured a revolutionary synthesis of science, technology, politics, and aesthetics. Its esoteric sounds transformed mid-century music and continue to reverberate today. Electronic music--echoing both cultural anxiety and promise--is a quintessential Cold War innovation.
For a decimated post-war West Germany, the electronic music studio at the WDR radio in Cologne was a beacon of hope. Jennifer Iverson's Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde traces the reclamation and repurposing of wartime machines, spaces, and discourses into the new sounds of the mid-century studio. In the 1950s, when technologies were plentiful and the need for reconstruction was great, West Germany began to rebuild its cultural prestige via aesthetic and technical advances. The studio's composers, collaborating with scientists and technicians, coaxed music from sine-tone oscillators, noise generators, band-pass filters, and magnetic tape. Together, they applied core tenets from information theory and phonetics, reclaiming military communication technologies as well as fascist propaganda broadcasting spaces. The electronic studio nurtured a revolutionary synthesis of science, technology, politics, and aesthetics. Its esoteric sounds transformed mid-century music and continue to reverberate today. Electronic music--echoing both cultural anxiety and promise--is a quintessential Cold War innovation.
Über den Autor
Jennifer Iverson is a scholar of twentieth-century music, with a special emphasis on electronic music, avant-gardism, and disability studies. Jennifer's work crosses freely between music theory, musicology, sound studies, and cultural history, drawing together analysis, archival research, and intellectual discourse. Her articles appear in journals such as Music Theory Spectrum, Journal of the American Musicological Society, twentieth-century music, and Music Theory Online. In 2015-16 she was a faculty fellow at the Stanford Humanities Center and now teaches at the University of Chicago.
Inhaltsverzeichnis
  • Acknowledgements

  • Introduction

  • Chapter 1. Origins: Creating a Laboratory

  • Chapter 2. Kinship: Cage, Tudor, and the Timbral Utopia

  • Chapter 3. Collaboration: The Science and Culture of Additive Synthesis

  • Chapter 4. Reclaiming Technology: From Information Theory to Statistical Form

  • Chapter 5: Controversy: The Aleatory Debates beyond Darmstadt

  • Chapter 6: Techno-Synthesis: From Vocoder Speech to Electronic Music

  • Epilogue

  • Glossary of Actors

  • Endnotes

  • Bibliography

  • Index

Details
Erscheinungsjahr: 2018
Genre: Importe, Musik
Rubrik: Kunst & Musik
Thema: Allg. Handbücher & Lexika
Medium: Taschenbuch
Inhalt: Buch
ISBN-13: 9780190868208
ISBN-10: 0190868201
Sprache: Englisch
Einband: Kartoniert / Broschiert
Autor: Iverson, Jennifer
Hersteller: Oxford University Press
Verantwortliche Person für die EU: Deutsche Bibelgesellschaft, Postfach:81 03 40, D-70567 Stuttgart, vertrieb@dbg.de
Maße: 234 x 156 x 19 mm
Von/Mit: Jennifer Iverson
Erscheinungsdatum: 01.12.2018
Gewicht: 0,544 kg
Artikel-ID: 120655488
Über den Autor
Jennifer Iverson is a scholar of twentieth-century music, with a special emphasis on electronic music, avant-gardism, and disability studies. Jennifer's work crosses freely between music theory, musicology, sound studies, and cultural history, drawing together analysis, archival research, and intellectual discourse. Her articles appear in journals such as Music Theory Spectrum, Journal of the American Musicological Society, twentieth-century music, and Music Theory Online. In 2015-16 she was a faculty fellow at the Stanford Humanities Center and now teaches at the University of Chicago.
Inhaltsverzeichnis
  • Acknowledgements

  • Introduction

  • Chapter 1. Origins: Creating a Laboratory

  • Chapter 2. Kinship: Cage, Tudor, and the Timbral Utopia

  • Chapter 3. Collaboration: The Science and Culture of Additive Synthesis

  • Chapter 4. Reclaiming Technology: From Information Theory to Statistical Form

  • Chapter 5: Controversy: The Aleatory Debates beyond Darmstadt

  • Chapter 6: Techno-Synthesis: From Vocoder Speech to Electronic Music

  • Epilogue

  • Glossary of Actors

  • Endnotes

  • Bibliography

  • Index

Details
Erscheinungsjahr: 2018
Genre: Importe, Musik
Rubrik: Kunst & Musik
Thema: Allg. Handbücher & Lexika
Medium: Taschenbuch
Inhalt: Buch
ISBN-13: 9780190868208
ISBN-10: 0190868201
Sprache: Englisch
Einband: Kartoniert / Broschiert
Autor: Iverson, Jennifer
Hersteller: Oxford University Press
Verantwortliche Person für die EU: Deutsche Bibelgesellschaft, Postfach:81 03 40, D-70567 Stuttgart, vertrieb@dbg.de
Maße: 234 x 156 x 19 mm
Von/Mit: Jennifer Iverson
Erscheinungsdatum: 01.12.2018
Gewicht: 0,544 kg
Artikel-ID: 120655488
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