Overview

Technology revolutionized the ways that music was produced in the 20th century. As that century drew to a close and a new century began a new revolution in roles was 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 invigorating as well as exploitative and destructive. This book addresses some of the issues now posed by the brave new world of music produced with technology.

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9780754601098

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’...the essays are well written and teem with marvelous insights...well worth owning.’ The Tentacle '... rich bibliographical references [...] follow each chapter.' International Review of the Aesthetics and Sociology of Music

'...the essays are well written and teem with marvelous insights...well worth owning.' The Tentacle '... rich bibliographical references [...] follow each chapter.' International Review of the Aesthetics and Sociology of Music

'...the essays are well written and teem with marvelous insights...well worth owning.' The Tentacle '... rich bibliographical references [...] follow each chapter.' International Review of the Aesthetics and Sociology of Music

Author Information

Simon Emmerson, De Montfort University, UK Simon Emmerson, Luke Windsor, Ambrose Field, Simon Waters, Chris CutlerRobert Worby, Kersten Glandien, Katharine Norman.

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