Radio 2.0: Uploading the First Broadcast Medium
Welcome to the uncertain world of "Radio 2.0"―where podcasts, mobile streaming, and huge music databases are the new reality, as are tweeting deejays and Apple's Siri serving as music announcer―and understand the exciting status this medium has, and will continue to have, in our digitally inclined society.
• Presents great stories about digital radio innovators and fascinating moments in the history of AM/FM that will explain to today's "Radio 2.0 generation" what radio once was―and what it could be again
• Documents the transformative impact of technologies such as the iPod and Pandora music streaming that enabled a highly individualized music-listening experience and changed the meaning of "community" from those literally surrounding a person locally to invisible users on worldwide systems like Spotify and SoundCloud
• Engages readers with interesting descriptions of new technologies and their possible applications plus stories about outrageous media figures in the digital age
Composing Electronic Music: A New Aesthetic by Curtis Roads
Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities.
This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice.
Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.
Corporate Music Method: How To Make Money With Music
This is a book for songwriters, composers and artists who write, and record their own music. The purpose of this book is to inspire and inform those who want to become a creative entrepreneur and make a great living writing music for corporate clients, tv, films, events, shows, commercials and product launches. Artists need a new business model in this digital era where Spotify and YouTube have changed the rules. Use the Corporate Music Method to become a successful creative businessman.
Chapter 1 to 4 is about the music market and how much this market has changed in the last couple of years. These chapters explain why and how the Corporate Music Method works. Chapter 5 to 9 are about the "25 Rules to Become a Successful Corporate Music Writer", with musical tips and mixing tricks, examples and everything you need to know about royalties, rights and synching. Chapter 10 and 11 feature interviews with successful entrepreneurs, so we can learn from the people who started a creative business and succeeded. In Chapter 12 to 14 we'll dive deep into important things like mindset, creative- and concept thinking and how to really achieve success as a creative businessman. This book is filled with musical examples and links to video's and music. Erwin has 15 years of expercience writing for the biggest brands in the world and he is probably the #1 product launch composer worldwide. Besides being a highly successful songwriter and composer he teaches Songwriting and Media Composing at ArtEZ, Institute of the Arts in the Netherlands.
Instruments for New Music: Sound, Technology, and Modernism
"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.”
Transformations of Musical Modernism (Music since 1900)
Profound transformations in the composition, performance and reception of modernist music have taken place in recent decades. This collection brings fresh perspectives to bear upon key questions surrounding the forms that musical modernism takes today, how modern music is performed and heard, and its relationship to earlier music. In sixteen chapters, leading figures in the field and emerging scholars examine modernist music from the inside, in terms of changing practices of composition, musical materials and overarching aesthetic principles, and from the outside, in terms of the changing contextual frameworks in which musical modernism has taken place and been understood. Shaped by a 'rehearing' of modernist music, the picture that emerges redraws the map of musical modernism as a whole and presents a full-scale re-evaluation of what the modernist movement has all been about.
Beyond Sound: The College and Career Guide in Music Technology
Beyond Sound is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced world. Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, and his extensive network of music technology professionals, to present an intimate view of the exciting world of music technology. The book offers an in-depth consideration of music technology education, including looks at specific programs and a clear explanation of different types of degrees. Moreover, it provides practical guidance on career preparation, including how to get a great internship, how to land that first job, and how to make connections and move up in a variety of businesses from recording to television and film to video games. And Phillips brings stories from successful professionals, who share their experiences, advice, and suggestions.
Interactive Composition: Strategies Using Ableton Live and Max for Live PDF
Interactive Composition empowers readers with all of the practical skills and insights they need to compose and perform electronic popular music in a variety of popular styles. The book begins by introducing all of the tools involved in creating interactive compositions through the software Ableton Live and Max for Live. compositional objectives.
The following chapters then put the tools to use by both describing particular musical styles and also teaching readers how to compose and perform within these styles using the software. As readers progresses through the book, they will learn to use the software to facilitate their own unique compositional objectives.
This book takes readers through all of the steps in designing interactive music compositions. It is geared toward both beginners as well as intermediate and advanced readers, and so readers with even little experience working with digital audio software will quickly learn how to design powerful systems that facilitate their unique compositional ideas.
A particular feature of this book is that it discusses the historical context of several electronic music styles used by Djs, electronic musicians, and other artists, and then describes, using software, the technical process used in the composition and performance of these styles. Each chapter leads readers to create an original composition in a given style and also discusses the techniques that can be used to perform the piece in an idiomatic fashion.