04521nam 22008535 450 99632804060331620210202111235.00-520-96312-110.1525/9780520963122(CKB)3710000000888734(DE-B1597)539719(OCoLC)960164725(DE-B1597)9780520963122(OCoLC)1011630595(ScCtBLL)42cbddb9-ce59-4bb3-9b84-c07490eb9b0a(EXLCZ)99371000000088873420210202h20152015 fg engur|||||||||||txtrdacontentcrdamediacrrdacarrierInstruments for New Music Sound, Technology, and Modernism /Thomas PattesonBerkeley, CA : University of California Press, [2015]©20151 online resource (250 p.)Frontmatter -- Contents -- Illustrations -- Acknowledgments -- 1. Listening to Instruments -- 2. "The Joy of Precision": Mechanical Instruments and the Aesthetics of Automation -- 3. "The Alchemy of Tone": Jörg Mager and Electric Music -- 4. "Sonic Handwriting": Media Instruments and Musical Inscription -- 5. "A New, Perfect Musical Instrument": The Trautonium and Electric Music in the 1930s -- 6. The Expanding Instrumentarium -- Notes -- Bibliography -- IndexA free ebook version of this title is available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Player pianos, radio-electric circuits, gramophone records, and optical sound film-these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and 1930s, the movement to create new instruments encompassed a broad spectrum of experiments, from the exploration of microtonal tunings and exotic tone colors to the ability to compose directly for automatic musical machines. This movement comprised composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jörg Mager, Friedrich Trautwein, László Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Patteson's fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts.Civil engineeringCommunicationElectronic musical instrumentsHistoryEngineeringMass mediaMusic and technologyHistoryMusicPhilosophy and aestheticsMusical instrumentsMUSIC / History & Criticismbisacsh20th century music history.developing new musical instruments.developing new musical technology.electronic musical instruments.history of music.jorg mager.mechanical instruments.media instruments.music and technology.music appreciation.music composition.music theory.music.musical aesthetics.musical automation.musical innovation.musical inscription.new music.new musical instruments in the 20th century.sound technology.Civil engineering.Communication.Electronic musical instrumentsHistory.Engineering.Mass media.Music and technologyHistory.MusicPhilosophy and aesthetics.Musical instruments.MUSIC / History & Criticism.784.1909/04Patteson Thomas, authttp://id.loc.gov/vocabulary/relators/aut870027DE-B1597DE-B1597BOOK996328040603316Instruments for New Music1942425UNISA