LEADER 03219nam 2200649Ia 450 001 9910814348603321 005 20230422045040.0 010 $a1-315-59687-3 010 $a1-317-09171-X 010 $a1-281-09865-5 010 $a9786611098650 010 $a0-7546-8632-9 035 $a(CKB)1000000000401772 035 $a(EBL)429716 035 $a(OCoLC)437113572 035 $a(SSID)ssj0000207142 035 $a(PQKBManifestationID)11183675 035 $a(PQKBTitleCode)TC0000207142 035 $a(PQKBWorkID)10246549 035 $a(PQKB)10378850 035 $a(Au-PeEL)EBL429716 035 $a(CaPaEBR)ebr10211184 035 $a(CaONFJC)MIL919110 035 $a(MiAaPQ)EBC429716 035 $a(EXLCZ)991000000000401772 100 $a20000714d2000 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aMusic, electronic media, and culture$b[electronic resource] /$fedited by Simon Emmerson 210 $aAldershot ;$aBurlington, USA $cAshgate$dc2000 215 $a1 online resource (263 p.) 300 $aDescription based upon print version of record. 311 $a0-7546-0109-9 320 $aIncludes bibliographical references and index. 327 $aCover; Contents; Notes on contributors; Introduction; Part One: Listening and interpreting; 1 Through and around the acousmatic: the interpretation of electroacoustic sounds; 2 Simulation and reality: the new sonic objects; 3 Beyond the acousmatic: hybrid tendencies in electroacoustic music; Part Two: Cultural noise; 4 Plunderphonics; 5 Crossing cultural boundaries through technology?; 6 Cacophony; Part Three: New places, spaces and narratives; 7 Art on air: a profile of new radio art; 8 'Losing touch?': the human performer and electronics 327 $a9 Stepping outside for a moment: narrative space in two works for sound aloneIndex; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z 330 $aTechnology revolutionised the ways that music was produced in the twentieth century. As that century drew to a close and a new century begins a new revolution in roles is underway. The separate categories of composer, performer, distributor and listener are being challenged, while the sounds of the world itself become available for musical use. All kinds of sounds are now brought into the remit of composition, enabling the music of others to be sampled (or plundered), including that of unwitting musicians from non-western cultures. This sound world may appear contradictory - stimulating and in 606 $aElectronic music$xHistory and criticism 606 $aMusic and technology 606 $aMusic$y20th century$xHistory and criticism 615 0$aElectronic music$xHistory and criticism. 615 0$aMusic and technology. 615 0$aMusic$xHistory and criticism. 676 $a306.4’84 676 $a306.484 676 $a786.7 701 $aEmmerson$b Simon$f1950-$01140547 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910814348603321 996 $aMusic, electronic media, and culture$94126111 997 $aUNINA