The Sound of Tomorrow: How Electronic Music Was Smuggled into the MainstreamBloomsbury Publishing USA, 6 gru 2012 - 288 London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by the early 1960s, all you had to do was watch commercial TV for a few hours to hear the weird and wonderful sounds of the new world. The Sound of Tomorrow tells the compelling story of the sonic adventurers who first introduced electronic music to the masses. A network of composers, producers, technicians and inventors, they took emerging technology and with it made sound and music that was bracingly new. |
Spis treści
| 1 | |
2 I like music that explodes into space | 29 |
3 The privilege of ignoring conventions | 51 |
4 Out of the ordinary | 73 |
5 Manhattan researchers | 103 |
6 Because a fire was in my head | 123 |
7 Moog men | 151 |
8 White noise | 173 |
9 It rhymes with vogue | 195 |
Epilogue | 213 |
Notes | 225 |
Watch and listen | 233 |
| 251 | |
Acknowledgements | 255 |
| 257 | |
Inne wydania - Wyświetl wszystko
The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream Mark Brend Ograniczony podgląd - 2012 |
The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream Mark Brend Podgląd niedostępny - 2012 |
The Sound of Tomorrow: How Electronic Music Was Smuggled Into the Mainstream Mark Brend Podgląd niedostępny - 2012 |
Kluczowe wyrazy i wyrażenia
adverts album America appeared approach band Barrons Beaver became become began born British called career Cary classical combined completely composer composition concert continued conventional created decade demonstration Derbyshire developed Directed early effects electric electronic instruments electronic music electronic sound engineer equipment experience film going Gray hand heard idea interest interview keyboard known Krause late later light live London machine Manhattan Research Inc Martenot melody Moog moved musicians needed never notes Ondioline opened Oram orchestral organ oscillators performance Perrey piano piece Planet played popular produced radio Radiophonic Workshop released rock score Scott seems sense serious Siday sometimes song space started story studio success synthesizer tape recorders television theme theremin things tone took track tune turn United wanted York