We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 05 May 2013
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.
To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Find out more about the Kindle Personal Document Service.
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.
