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101 0 $aeng
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181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aInstruments for New Music $eSound, Technology, and Modernism /$fThomas Patteson
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
610   $a20th century music history.
610   $adeveloping new musical instruments.
610   $adeveloping new musical technology.
610   $aelectronic musical instruments.
610   $ahistory of music.
610   $ajorg mager.
610   $amechanical instruments.
610   $amedia instruments.
610   $amusic and technology.
610   $amusic appreciation.
610   $amusic composition.
610   $amusic theory.
610   $amusic.
610   $amusical aesthetics.
610   $amusical automation.
610   $amusical innovation.
610   $amusical inscription.
610   $anew music.
610   $anew musical instruments in the 20th century.
610   $asound technology.
615  0$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   $a996328040603316
996   $aInstruments for New Music$91942425
997   $aUNISA