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The sound of tomorrow : how electronic music was smuggled into the mainstream

著者: Mark Brend
出版: New York : Bloomsbury, 2012.
エディション/フォーマット:   書籍 : Biography : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
Monterey Pop Festival, 1967. Bernie Krause and Paul Beaver demonstrate a Moog synthesizer to the assembled rock aristocracy, plugging into a surge of interest that would see synthesizers and electronic sound become commonplace in rock and pop early the following decade. And yet in 1967 electronic music had already seeped into mainstream culture. For years, composers and technicians had been making electronic music  続きを読む
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ジャンル/形式: Criticism, interpretation, etc
資料の種類: Biography
ドキュメントの種類: 図書
すべての著者/寄与者: Mark Brend
ISBN: 9780826424525 082642452X
OCLC No.: 777652910
形態 xi, 272 p. : ill. ; 22 cm.
コンテンツ: More music than they ever had before --
I like music that explodes into space --
The privilege of ignoring conventions --
Out of the ordinary --
Manhattan researchers --
Because a fire was in my head --
Moog men --
White noise --
It rhymes with vogue.
他のタイトル: How electronic music was smuggled into the mainstream
責任者: Mark Brend.

概要:

A fascinating history of the inventors, producers and technicians behind the early televisual and cinematic breakthroughs of electronic music, packed with original research and interviews.  続きを読む

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Mark Brend's comprensive history of the process by which what was once the marginalised province of academics and solitary hobbyists gradually became absorbed within the fabric of the musical 続きを読む

 
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schema:description"More music than they ever had before -- I like music that explodes into space -- The privilege of ignoring conventions -- Out of the ordinary -- Manhattan researchers -- Because a fire was in my head -- Moog men -- White noise -- It rhymes with vogue."
schema:description"Monterey Pop Festival, 1967. Bernie Krause and Paul Beaver demonstrate a Moog synthesizer to the assembled rock aristocracy, plugging into a surge of interest that would see synthesizers and electronic sound become commonplace in rock and pop early the following decade. And yet in 1967 electronic music had already seeped into mainstream culture. 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 [Publisher description]"
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