Skip to main content
×
Home

Editorial: Alternative histories of electroacoustic music

  • View HTML
    • Send article to Kindle

      To send this article to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

      Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

      Find out more about the Kindle Personal Document Service.

      Editorial: Alternative histories of electroacoustic music
      Available formats
      ×
      Send article to Dropbox

      To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your Dropbox account. Find out more about sending content to Dropbox.

      Editorial: Alternative histories of electroacoustic music
      Available formats
      ×
      Send article to Google Drive

      To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account. Find out more about sending content to Google Drive.

      Editorial: Alternative histories of electroacoustic music
      Available formats
      ×
Abstract
Copyright
Corresponding author
(j.r.mooney@leeds.ac.uk)
(d.schampaert@leeds.ac.uk)
(tim.boon@sciencemuseum.ac.uk)
References
Hide All
Adkins M. and Russ M. (eds.) 2013. The Roberto Gerhard Companion. Burlington, VT: Routledge.
Appleton J. H. and Perera R. (eds.) 1975. The Development and Practice of Electronic Music. Englewood Cliffs, NJ: Prentice-Hall.
Atkinson S. and Landy L. 2004. The ElectroAcoustic Resource Site (EARS): Philosophy, Foundation and Aspirations. Organised Sound 9(1): 7985.
Austin L. and Kahn D. (eds.) 2011. Source: Music of the Avant-Garde, 1966–1973. Berkeley: University of California Press.
Battier M. 2004. Electroacoustic Music Studies and the Danger of Loss. Organised Sound 9(1): 4753.
Bijker W., Pinch T. and Hughes T. 2012. The Social Construction of Technological Systems: New Directions in the Sociology and History of Technology. Anniversary edition. Cambridge, MA: MIT Press.
Blackburn M. 2014. Editorial. Organised Sound 19(2): 107109.
Born G. 1995. Rationalizing Culture: IRCAM, Boulez and the Institutionalization of the Musical Avant-Garde. London: University of California Press.
Born G. 2010. For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn: The 2007 Dent Medal Address. Journal of the Royal Musical Association 135(2): 205243.
Braun H.-J. (ed.) 2002. Music and Technology in the Twentieth Century. Baltimore, MD: Johns Hopkins University Press.
Bullock J. and Coccioli L. 2006. Modernising Musical Works Involving Yamaha DX-Based Synthesis: A Case Study. Organised Sound 11(3): 221227.
Cage J. 2011. Silence. London: Marion Boyars.
Chadabe J. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice Hall.
Charrieras D. and Mouillot F. 2015. Getting Out of the Black Box: Analogising the Use of Computers in Electronic Music and Sound Art. Organised Sound 20(2): 191199.
Chasalow E. 2006. Composing from Memory: The Convergence of Archive Creation and Electroacoustic Composition. Organised Sound 11(1): 6371.
Cox C. 2009. Sound Art and the Sonic Unconscious. Organised Sound 14(1): 1926.
Cox C. and Warner D. (eds.) 2004. Audio Culture: Readings in Modern Music. London and New York: Continuum.
Dal Farra R. 2006. Something Lost, Something Hidden, Something Found: Electroacoustic Music by Latin American Composers. Organised Sound 11(2): 131142.
Davies H. 1968. Répertoire International Des Musiques Électroacoustiques/International Electronic Music Catalog. Paris and Trumansburg, NY: MIT Press.
Emmerson S. 2006. In What Form Can Live Electronic Music Live On? Organised Sound 11(3): 209219.
Eno B. 2013. Foreword. In F. Weium and T. Boon (eds.) Material Culture and Electronic Sound. Washington, DC and Lanham, MD: Smithsonian Institution Scholarly Press and Rowman & Littlefield.
Ernst D. 1977. The Evolution of Electronic Music. New York: Schirmer Books.
Griffiths P. 1979. A Guide to Electronic Music. New York: Thames & Hudson.
Harrison J. 1998. Sound, Space, Sculpture: Some Thoughts on the ‘What’, ‘How’ and ‘Why’ of Sound Diffusion. Organised Sound 3(2): 117127.
Helliwell I. 2016. Tape Leaders. Cambridge: Sound on Sound.
Holmes T. B. 1985. Electronic and Experimental Music: History, Instruments, Technique, Performers, Recordings. New York: Charles Scribner.
Kahn D. 1999. Noise, Water, Meat: A History of Sound in the Arts. London: MIT Press.
Kane B. 2007. L’Objet Sonore Maintenant: Pierre Schaeffer, Sound Objects and the Phenomenological Reduction. Organised Sound 12(1): 1524.
Kuljuntausta P. 2008. First Wave: A Microhistory of Early Finnish Electronic Music. Helsinki: Like.
Landy L. 2015. 20 Years of Organised Sound: Looking Back and Forward. Organised Sound 20(1): 19.
Latour B. 1987. Science in Action: How to Follow Scientists and Engineers Through Society. Cambridge, MA: Harvard University Press.
Manning P. 1985. Electronic and Computer Music. Oxford: Clarendon Press.
Manning P. 2006. The Significance of Techné in Understanding the Art and Practice of Electroacoustic Composition. Organised Sound 11(1): 8190.
Moles A. 1960. Les Musiques Expérimentales. Paris, Zürich and Brussels: Editions du Cercle d’Art Contemporain.
Mooney J. 2015. Hugh Davies’s Electronic Music Documentation 1961–1968. Organised Sound 20(1): 111121.
Mooney J. 2017. The Hugh Davies Collection: Live Electronic Music and Self-Built Electro-Acoustic Musical Instruments, 1967–75. Science Museum Group Journal 7.
Niebur L. 2010. Special Sound: The Creation and Legacy of the B.B.C. Radiophonic Workshop. New York: Oxford University Press.
ORTF. 1962. Répertoire International des Musiques Expérimentales: Studios, Oeuvres, Equipements, Bibliographie. Paris: Service de la Recherche de la Radiodiffusion-Telévision Française.
Paiuk G. 2013. Tactility, Traces and Codes: Reassessing Timbre in Electronic Media. Organised Sound 18(3): 306313.
Parker L. E. 2013. Repurposing the Past: The Phantastron and Appropriating History as a DIY Approach. Organised Sound 18(3): 292298.
Patteson T. W. 2016. Instruments for New Music: Sound, Technology, and Modernism. Oakland, CA: University of California Press.
Piekut B. 2014. Actor-Networks in Music History: Clarifications and Critiques. Twentieth-Century Music 11(2): 191215.
Pinch T. J. and Bijker W. E. 1984. The Social Construction of Facts and Artefacts: Or How the Sociology of Science and the Sociology of Technology Might Benefit Each Other. Social Studies of Science 14(3): 399441.
Pinch T. and Trocco F. 2004. Analog Days: The Invention and Impact of the Moog Synthesizer. Cambridge, MA: Harvard University Press.
Polfreman R., Sheppard D. and Dearden I. 2006. Time to Re-Wire? Problems and Strategies for the Maintenance of Live Electronics. Organised Sound 11(3): 229242.
Prieberg F. K. 1960. Musica ex Machina: Über das Verhältnis von Musik und Technik. Berlin: Ullstein.
Ramel S. 2004. Conservation and Restoration of Electroacoustic Musical Instruments at the Musée de La Musique, Paris. Organised Sound 9(1): 8790.
Riis M. 2013. The Media Archaeological Repairman. Organised Sound 18(3): 255265.
Rodgers T. 2010. Pink Noises: Women on Electronic Music and Sound. Durham, NC: Duke University Press.
Schaeffer P. 2012. In Search of a Concrete Music. Trans. C. North and J. Dack. Berkeley, CA: University of California Press.
Schrader B. 1982. Introduction to Electro-Acoustic Music. Englewood Cliffs, NJ: Longman Higher Education.
Smith M. R. and Marx L. (eds.) 1994. Does Technology Drive History? The Dilemma of Technological Determinism. London: MIT Press.
Sterne J. (ed.) 2012. The Sound Studies Reader. London: Routledge.
Tazelaar K. 2013. On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965. Rotterdam: NAI Publishers.
Teruggi D. 2004. Electroacoustic Preservation Projects: How to Move Forward. Organised Sound 9(1): 5562.
Tresch J. and Dolan E. I. 2013. Toward a New Organology: Instruments of Music and Science. Osiris 28: 278298.
Waters S. 2006. Making the Archive and Archiving the Making: Insights and Outcomes from a Major Research Project. Organised Sound 11(2): 143147.
Weium F. and Boon T. (eds.) 2013. Material Culture and Electronic Sound. Washington, DC and Lanham, MD: Smithsonian Institution Scholarly Press and Rowman & Littlefield.
Wetzel D. B. 2006. A Model for the Conservation of Interactive Electroacoustic Repertoire: Analysis, Reconstruction, and Performance in the Face of Technological Obsolescence. Organised Sound 11(3): 273284.
Wittje R. 2016. The Age of Electroacoustics: Transforming Science and Sound. Cambridge, MA: MIT Press.
Yong K. 2006. Electroacoustic Adaptation as a Mode of Survival: Arranging Giacinto Scelsis Aitsi Pour Piano Amplifée (1974) for Piano and Computer. Organised Sound 11(3): 243254.
Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Organised Sound
  • ISSN: 1355-7718
  • EISSN: 1469-8153
  • URL: /core/journals/organised-sound
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×

Metrics

Full text views

Total number of HTML views: 18
Total number of PDF views: 132 *
Loading metrics...

Abstract views

Total abstract views: 390 *
Loading metrics...

* Views captured on Cambridge Core between 12th July 2017 - 25th November 2017. This data will be updated every 24 hours.