LEADER 03324oam 22005534a 450 001 9910136267703321 005 20240418123248.0 035 $a(CKB)3710000000590559 035 $a(SSID)ssj0001615880 035 $a(PQKBManifestationID)16341274 035 $a(PQKBTitleCode)TC0001615880 035 $a(PQKBWorkID)13931943 035 $a(PQKB)11391600 035 $a(MiAaPQ)EBC4068970 035 $a(OCoLC)1089420946 035 $a(MdBmJHUP)muse72994 035 $a(EXLCZ)993710000000590559 100 $a20150721d2016 uy 0 101 0 $aeng 135 $auzau#---|uu|u 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aInstruments for New Music$eSound, Technology, and Modernism /$fThomas Patteson 205 $a1st ed. 210 31$aUnited States :$cUniversity of California Press,$d2016 215 $a1 online resource (xii, 236 pages) : $cillustrations, music ; 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-520-28802-5 320 $aIncludes bibliographical references (pages 209-228) and index. 327 $aListening to instruments -- "The joy of precision" : mechanical instruments and the aesthetics of automation -- "The alchemy of tone" : Jo?rg Mager and electric music -- "Sonic handwriting" : media instruments and musical inscription -- "A new, perfect musical instrument" : the trautonium and electric music in the 1930s -- The expanding instrumentarium. 330 $aPlayer 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 1920's and 1930's, 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. 606 $aMusic$xPhilosophy and aesthetics 606 $aElectronic musical instruments$xHistory 606 $aMusic and technology$xHistory 606 $aMusical instruments 608 $aElectronic books. 615 0$aMusic$xPhilosophy and aesthetics. 615 0$aElectronic musical instruments$xHistory. 615 0$aMusic and technology$xHistory. 615 0$aMusical instruments. 676 $a784.1909/04 700 $aPatteson$b Thomas$0870027 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910136267703321 996 $aInstruments for New Music$91942425 997 $aUNINA