Electronic music instruments weren't called synthesizers until the 1950s, but their lineage began in 1919 with Russian inventor Lev Sergeyevich Termen's development of the Etherphone, now known as the Theremin.
At the dawn of the twenty-first century, the Nor-tec phenomenon emerged from the border city of Tijuana and through the Internet, quickly conquered a global audience.
Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps.
This exhaustive bibliography, reflecting current interest in electronic music, includes all available citations of books, articles, and monographs pertaining to "musique concrète," "Elektronische Musik," "tape music," and "computer music" from publications in fourteen languages.
In Kwaito Bodies Xavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of kwaito, a style of electronic dance music that emerged following the end of apartheid.
Call it batida, kuduro, Afro house, Lisbon bass: anyone with a keen ear for contemporary developments in global electronic dance music can't fail to have noticed the rise in popularity and influence of Lisbon-based DJs such as DJ Marfox, DJ Nervoso and Nidia.
Jean Cocteau, Erik Satie, Moulin Rouge - the names popularly associated with film composer Georges Auric's career conjure visions of a distant and glamorous early twentieth-century Parisian art world.
Established in the 1950s by musician and engineer Pierre Schaeffer, the Groupe de Recherches Musicales would become the nerve center for avant-garde artists experimenting with sound and acoustics, as well as the birthplace of a genre of music-making enabled by new recording technologies and sound pioneers: musique concrete.
Twenty-five years since acid house and Ecstasy revolutionized pop culture, Simon Reynolds's landmark rave history Energy Flash has been expanded and updated to cover twenty-first-century developments like dubstep and EDM's recent takeover of America.
Arduino, Teensy, and related microcontrollers provide a virtually limitless range of creative opportunities for musicians and hobbyists who are interested in exploring "e;do it yourself"e; technologies.
Bits and Pieces tells the story of chiptune, a style of lo-fi electronic music that emerged from the first generation of video game consoles and home computers in the late 1970s and early 1980s.
During the mid-1950s, when Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock 'n' roll stars.
Capturing the fraught moment in popular music history as reflected in and anticipated by Since I Left You (2000), the debut studio album from electronic music group The Avalanches.
From massive raves sprouting around the London orbital at the turn of the 1990s to events operated under the control of corporate empires, EDM (Electronic Dance Music) festivals have developed into cross-genre, multi-city, transnational mega-events.
Opening with David Mancuso's seminal "e;Love Saves the Day"e; Valentine's party, Tim Lawrence tells the definitive story of American dance music culture in the 1970s-from its subterranean roots in NoHo and Hell's Kitchen to its gaudy blossoming in midtown Manhattan to its wildfire transmission through America's suburbs and urban hotspots such as Chicago, Boston, San Francisco, Los Angeles, Newark, and Miami.
Capturing the fraught moment in popular music history as reflected in and anticipated by Since I Left You (2000), the debut studio album from electronic music group The Avalanches.
Jean Cocteau, Erik Satie, Moulin Rouge - the names popularly associated with film composer Georges Auric's career conjure visions of a distant and glamorous early twentieth-century Parisian art world.
This exhaustive bibliography, reflecting current interest in electronic music, includes all available citations of books, articles, and monographs pertaining to "e;musique concrete,"e; "e;Elektronische Musik,"e; "e;tape music,"e; and "e;computer music"e; from publications in fourteen languages.
A pathbreaking study of the women who create electronic dance music, Beyond the Dance Floor focuses on the largely neglected relationship between these women and the conceptions of gender and technology that continue to inform the male-dominated culture surrounding electronic music.
The Presence of the Past offers a new perspective on Hollywood's "e;New Wave"e; as engaged with the vitality of sensory experience and the affective imagination.
In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality.
Electronic music instruments weren't called synthesizers until the 1950s, but their lineage began in 1919 with Russian inventor Lev Sergeyevich Termen's development of the Etherphone, now known as the Theremin.
Winner of the 2015 PMIG Outstanding Publication Award from the Society of Music TheoryThe DJs and laptop performers of electronic dance music use preexistent elements such as vinyl records and digital samples to create fluid, dynamic performances.
From its roots in 1970s New York disco and '80s Detroit techno to today's international, mainstream explosion of such genres as house, trance & dubstep, electronic dance music has reshaped the popular musical landscape.