LEADER 04007nam 22006855 450 001 9910136644303321 005 20210202111235.0 010 $a9780520963122 010 $a0520963121 024 7 $a10.1525/9780520963122 035 $a(CKB)3710000000888734 035 $a(DE-B1597)539719 035 $a(OCoLC)960164725 035 $a(DE-B1597)9780520963122 035 $a(OCoLC)1011630595 035 $a(ScCtBLL)42cbddb9-ce59-4bb3-9b84-c07490eb9b0a 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/27181 035 $a(Perlego)550555 035 $a(oapen)doab27181 035 $a(oapen)doab27523 035 $a(EXLCZ)993710000000888734 100 $a20210202h20152015 fg 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aInstruments for New Music $eSound, Technology, and Modernism /$fThomas Patteson 210 $cUniversity of California Press$d2015 210 1$aBerkeley, CA : $cUniversity of California Press, $d[2015] 210 4$d©2015 215 $a1 online resource (250 p.) 327 $tFrontmatter -- $tContents -- $tIllustrations -- $tAcknowledgments -- $t1. Listening to Instruments -- $t2. "The Joy of Precision": Mechanical Instruments and the Aesthetics of Automation -- $t3. "The Alchemy of Tone": Jörg Mager and Electric Music -- $t4. "Sonic Handwriting": Media Instruments and Musical Inscription -- $t5. "A New, Perfect Musical Instrument": The Trautonium and Electric Music in the 1930s -- $t6. The Expanding Instrumentarium -- $tNotes -- $tBibliography -- $tIndex 330 $aA 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. 606 $aCivil engineering 606 $aCommunication 606 $aElectronic musical instruments$xHistory 606 $aEngineering 606 $aMass media 606 $aMusic and technology$xHistory 606 $aMusic$xPhilosophy and aesthetics 606 $aMusical instruments 606 $aMUSIC / History & Criticism$2bisacsh 615 0$aCivil engineering. 615 0$aCommunication. 615 0$aElectronic musical instruments$xHistory. 615 0$aEngineering. 615 0$aMass media. 615 0$aMusic and technology$xHistory. 615 0$aMusic$xPhilosophy and aesthetics. 615 0$aMusical instruments. 615 7$aMUSIC / History & Criticism. 676 $a784.1909/04 700 $aPatteson$b Thomas, $4aut$4http://id.loc.gov/vocabulary/relators/aut$0870027 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910136644303321 996 $aInstruments for New Music$91942425 997 $aUNINA