Book contents
- Frontmatter
- Contents
- List of illustrations
- List of Tables
- Acknowledgments
- Chapter 1 Introduction
- Chapter 2 Recording technologies and music
- Chapter 3 New sounds and new instruments: Electronic music up until 1948
- Chapter 4 The post-war sonic boom
- Chapter 5 From analog to digital
- Chapter 6 Into the mainstream
- Chapter 7 Synth pop
- Chapter 8 Electronic dance music
- Chapter 9 Continuing the classical?
- Chapter 10 Experimental electronica
- Chapter 11 Sound art
- Chapter 12 Further connections
- Chapter 13 Live electronic music
- Chapter 14 Conclusions
- Notes
- Index
- References
Chapter 14 - Conclusions
Published online by Cambridge University Press: 05 May 2013
- Frontmatter
- Contents
- List of illustrations
- List of Tables
- Acknowledgments
- Chapter 1 Introduction
- Chapter 2 Recording technologies and music
- Chapter 3 New sounds and new instruments: Electronic music up until 1948
- Chapter 4 The post-war sonic boom
- Chapter 5 From analog to digital
- Chapter 6 Into the mainstream
- Chapter 7 Synth pop
- Chapter 8 Electronic dance music
- Chapter 9 Continuing the classical?
- Chapter 10 Experimental electronica
- Chapter 11 Sound art
- Chapter 12 Further connections
- Chapter 13 Live electronic music
- Chapter 14 Conclusions
- Notes
- Index
- References
Summary
We hope you've found much to engage you in this introduction to electronic music. We could hardly explore every path, but have pointed out a few routes; the further reading and listening suggestions in the chapters will lead you on many interesting musical journeys. The final suggestions for this chapter are a collection of some further alternative histories, theories, ideas, and music to pursue. We'd like to take the opportunity in the paragraphs remaining to us to point to a few further trends and movements in electronic music, perhaps because they were given less attention elsewhere in the book or are worth acknowledging as ongoing sites of scholarship and musical activity.
There is certainly a mass interest in electronic music history, evidenced by articles and programs on electronic music in popular media, and often associated with the avid technology-rich cultures of the present. Retro movements pore over the inspiring examples, and missed opportunities, of the past, spending more time with, say, 8-bit music, than the accelerating technology curve allowed in the 1980s. Enthusiasts collect and restore old equipment; Phil Cirocco describes in great detail a loving restoration of a 1940 Novachord, a romantic adventure in electronics, metal, and wood, set against a peril of “black tar” contamination of the unit by old capacitors. There is a continuing use of legacy equipment, such as in the analog studio room at The Hague's Institute of Sonology, amongst many other institutions keeping alive tape and analog synthesizer tradition. Long-term maintenance is an active issue in the fast-paced technology world, especially for software; open source software has a potentially greater chance of survival, as seen by the long existence of the Music 1 descendant Csound. Propellerheads’ proprietary Rebirth software, originally released in 1997, has been discontinued and is now given tribute in an online museum (www.rebirthmuseum.com), though it has also recently re-appeared in the form of an iPhone app.
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- Information
- Electronic Music , pp. 192 - 194Publisher: Cambridge University PressPrint publication year: 2013