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Suitable for those interested in contemporary musicology or media history, this title offers a translation of the author's pioneering work - at once a journal of his experiments in sound composition and a treatise on the raison d'etre of concrete music.
In Strange Sounds, Timothy D. Taylor explains the wonder and anxiety provoked by a technological revolution that began in the 1940s and gathers steam daily. Taylor discusses the ultural role of technology, its use in making music, and the inevitable concerns about "authenticity" that arise from electronic music. Informative and highly entertaining for both music fans and scholars, Strange Sounds is a provocative look at how we perform, listen to, and understand music today.
This ground-breaking book examines the multifaceted dynamics between copyright law and music borrowing within a rich diversity of music genres from across the world. It evaluates how copyright laws under different generic conventions may influence, or are influenced by, time-honoured creative borrowing practices. Leading experts from around the world scrutinise a carefully selected range of musical genres, including pop, hip-hop, jazz, blues, electronic and dance music, as well as a diversity of region-specific genres, such as Jamaican music, River Plate Tango, Irish folk music, Hungarian folk music, Flamenco, Indian traditional music, Australian indigenous music, Maori music and many others. This genre-conscious analysis builds on a theoretical section in which musicologists and lawyers offer their insights into fundamental issues concerning music genre categorisation, the typology of music borrowing and copyright law's ontological struggle with musical borrowing in theory and practice. The chapters are threaded together by a central theme, ie, that the cumulative nature of music creativity is the result of collective bargaining processes among many 'musicking' parties that have socially constructed creative music authorship under a rich mix of generic conventions.
Since the inception of electroacoustic music in 1948, much has been written about technical developments. This book is one of the first to examine aesthetic issues central to this rapidly developing genre. It brings together composers from leading academic departments and studios in Britain, the United States, Canada and Paris with a wide range of approaches and opinions, resulting in a study which is likely to have a marked impact on current debates on the future of electroacoustic music. The book is divided into three sections. The first, Culture and Language, considers the relationship between music and the listener's perception and expectation. Materials and Lanugage looks at the types of materials available to composers and the way in which the internal structure of the sound can have implications for the overall structure of a piece. The final section, The Influence of New Technology, considers the relationship between computer systems and the music they are helping to create.