Product Description
This work is a journey that traverses a variety of aesthetic approaches to making electronic music. Katharine Norman, herself a composer, writes from a highly personal and unusual perspective. The series of eight extended essays is a long way from conventional academic writing, and covers far more than the traditional repertoire. The essays are themselves literary compositions, whose structure, language and visual appearance are carefully constructed to amplify their theme - whether it be microsound or acousmatic art, electroacoustic or radiophonic music, plunderphonics, turntables or noise. In addition to this listening travel, these essays take illustrative byways through subjects as diverse as map-making, metaphors of flight, emblem books, the history of recording, translating and walks in the rain. The accompanying CD is a route map for the ears, providing a great number of examples by many different composers and artists. ... Read more

Product Description
This text aims to be accessible to students relatively inexperienced with electronic musical technology, while also sufficiently detailed for technical and musical achievement. Furthermore, it stresses the notion that, despite all the attention given to technique, the principal goal is musical expression. ... Read more

Customer Reviews (5)

Great Book!
Excellent work about EA Music... we need this kind of books with a lot of useful information...

The Basic Text with an Advanced Price
With the Electroacoustic Music (EAM) field continuing to take hold in the popular sectors of consumerist American society, it is not surprising to see a growth of instructional manuals, DIY tomes, and textbooks surfacing.For most purposes, Pellman's reduced text stands out as being rather accessible, if not downright cogent, as a primer for the EAM genre in terms of explicating digital sound basics, acoustical properties basics, and elementary compositional methods.

The section of the book speaking about MIDI is outstanding.Pellman's accurate reproduction of the MIDI 1.0 Specifications through a rudimentary lens is the best portion of this text as he guides readers through the ins and outs of operational messages, control and data functions, and practical applications.Also, the chapters on MIDI are well-appointed with diagrams and photographs aplenty, leaving little doubt in the mind of the reader about which his generally clear text speaks.

Not all of this book is as eye-pleasing, easy-to-follow, or even up-to-date as it should be, however.While historically important to do so, Pellman spends far too much time on working with magnetic tape.There are very few institutions still working with magnetic tape, and for the casual or amateur music maker, an Otari 4-channel reel-to-reel is conspicuously absent from his or her studio, making home or casual usage of these chapters worthless.Pellman should keep the historical aspects here and make a cursory overview of how tape was manipulated, but leave well-enough alone after a small hat-tip.

From a pedagogical standpoint, there are two rather serious issues that surface.Primarily, Pellman attempts to instruct compositional approaches to EAM through using serial (dodecaphonic) rows.This is a nasty snafu on the author's part largely because this will subconsciously say to students that "everything you do in this field has pitch."Not so at all.Also, for those people who use this text and cannot read music (or could care less about Schoenberg), these lessons (along with the quick and painful "here's a grand staff, now read music" page) will be largely lost.In terms of continuity and placement, should Pellman want to retain these lessons, they should come much later in the work - after all: the book's implicit intentions are to introduce the fundamentals and concepts, not necessarily compositional approaches.The second issue is the seeming confusion (from my students, that is) that arises during discussions of modular synthesis.Here, Pellman speaks loudly about VCOs, VCAs, VCFs, et. al., and peppers the discussion with topics and terms that should also be used in tandem with discussing modes of digital synthesis and reproduction but never mentions them again outside of the chapter dealing with analog synthesis.Frankly, the chapter on analog synthesis and modular synthesis is far too long without discussing much of their applications to digital machines and media.

From a purely aesthetic point of view, many of the photographs and illustrations are a bit too dark or poorly contrasted (all internal images are in black and white), making it difficult, in some cases, to stare an inharmonic spectrum down the barrel without squinting.For as much as the publisher is asking people to pay for this book, they could include at least a few token color images (especially when dealing with things like waveforms viewed in an editor or pictures of spectrographs and sonographs).

Anymore, most of the basics of digital music and EAM can be found online or in other texts.There are certainly more cost-effective solutions to satisfy the aural appetite, as well.But, for absolute beginners who want a solid grounding in MIDI, get confused by serial composition and fuzzy images, and are willing to pay nearly one hundred dollars for something worth perhaps half that amount, this book is right up their alley.

Everything you need for starting your own research
This book covers everything you need to know about Music and new technologies field. From physics of sound to complex MIDI network technology and it ends with perfect chapter of Audience in Electroacoustical Music. There are also etudes (excercises) which makes you practise what you have learned.
The only chapter I don't like was the "Composing Electroacoustic Music", which is really not enough for people who really intend to compose serious music. First he starts with the basics of music and on the next page you see 12-tone row and advanced 20th century compositional techniques. There are no Beethoven, Debussy etc. that made a lot for Schoenberg's 12-tone system. But there are other books that will teach you that.
Even if most of the text is out of date, it's one of Introductional books to this field of music.
I believe it is a School Book in the university in US where mr. Pellman teaches.
At the end... even my 50 years old father understood the text in the book. It's very well written and understandable for the most uneducated newcomers.

Sam is funny in class...
It's good that Sam has written down so many of his ideas, becuase he could never remember them if he didn't.I found this book was good. for reading.

a decent introduction to electroacoustic music
this book has some very good aspects and some not-so-good ones; mainly, the chapters on computer music and MIDI production are swiftly going out of date, and there is no way to keep it updated without yearly appendices tothe text itself.the book covers analog tape recording and splicing ingood detail, especially for someone trying to do it on his/her own with noofficial teaching of it.pellman's listening guides are excellent as well. ... Read more

Product Description
Everything you want to know about music notation with Finale! Master Finale step-by-step with the most complete how-to guide available. Designed for both novice and experienced users, this is your detailed resource to fully understanding and applying all of Finale's remarkable capabilities. Easy-to-follow instructions help you to: create publisher-quality music notation; learn to use the tools of Finale while writing your own music and arrangements; get started immediately with hundreds of professional templates, partially completed notation files, and libraries available on the companion website (www.FINALEBOOK.com); print transposed parts from scores automatically; write standard notation, guitar tablature, drum set parts, and more with this comprehensive hands-on tutorial. Teachers can create warm-up and practice exercises; write their own compositions, arrangements and method books; and simplify parts for students. The companion website, www.FINALEBOOK.COM, offers: * Tutorial Files * Samples of partially completed and finished music notation files for each of the hundreds of hands-on exercises in the book * Libraries of articulations and dynamics * Additional chapters * Professional Templates: Choral, Concert Band, Jazz Ensemble, Marching Band, Orchestra, Single Line and Grand Staff, Pit and Show, and Sketch and Utilities templates including a Cue Sheet for radio and TV. "This book excels at teaching Finale in an easy-to-understand, sequential manner. Rudolph and Leonard have loads of experience. Beginners and seasoned Finale users will benefit from what these two teach." - Tom Johnson, Finale Product Specialist, MakeMusic!, Inc. ... Read more

Customer Reviews (8)

Helpful but now ideal.
This was helpful to me but they need a new edition because with the new Finale it is not up to date with the graphics of the program.I have not gotten into it totally so I may like it more later.I struggle with Finale because their online help is terrible so you may need this.

best book i've found for finale
after being really frustrated with trying to learn finale on my own, i bought this book. It is great, because it has very clear cut lessons to follow, and starts you from beginner, and takes you all the way through the program. I highly reccomend this book!

Best
The item is excelent and I received it on time. I appreciate you all.
bye now
Philip.A.Augustine

Finale: An Easy Guide to Music Notation, Second Edition
An excellent book...really clearly set out with easy to follow sequential steps for learning this software. Packed with clear diagrams and idiot-proof instructions.This book is a knockout!
Jan Boyle.

Not the Final Finale
'Finale: An Easy Guide to Music Notation' is almost a misnomer.There is nothing easy about learning Finale!I am still using the book as a reference and probably will for some time to come. Finale has a lot of non-standard computer procedures and the learning curve is a bit steep, even for a seasoned musician and especially if he is new to scoring with a computer.So, the easier the better, especially to start off with.The book fit nicely into this category even though it probably was intended for a class workbook.The format was a bit wrong for private use.It was set up with exercises and lessons as opposed to straight text information.If you like to work through lessons step by step then the book is a good place to start. ... Read more

Product Description

This useful handbook provides a concise introduction to the principle topics of music technology. It discusses fundamentals in a straightforward style, with the extra levels of detail essential for those specializing in music technology. A five-part organization covers acoustics and music, computers, MIDI, digital audio, and other tools of the trade. For personal computer users introduced in the production of music.

Customer Reviews (2)

Very good text, but has a few mistakes/problems
I have used sections of this book to teach electroacoustic music courses. Overall, it is very good, well organized, and detailed in its treatment. There are, however, a few factual errors, and at least one misconception in the text. Following are the problems I've encountered so far:

Ch. 5 - Representing Numbers
p. 50 - No definition of 'word' as 16, 24, 32, or 64 bit sequence, dependent on design of processor or software system.

p. 51 - The explanation of hexadecimal makes several references to "hexadecimal bits" which should be "hexadecimal digits." The term 'bit' is defined as a 'binary digit', and so is not appropriate in reference to hexadecimal.

p. 52 - Equations at the top of the page are mixed up. Should be:
6(base10) = 01102
-6(base10) = 10012 + 1 = 10102

p. 52 - Sentence that begins, "Numbers that include a decimal point..." is not accurate. There are fixed-point decimal representations as well as floating-point. In fact, the following explanation of floating-point seems rather to be explaining fixed-point decimal representation by focusing on the need to use a certain number of digits (relegating the exponent to 1 byte, for example), rather than explaining how floating-point representation moves (and keeps track of) the decimal point as needed. Also, this discussion leaves the impression that decimal representations are inherently less accurate than integer representation, which is not true.

Ch. 9 - Digital Audio
p. 106 - The sentence which continues after the aliasing equation, "where the minus sign..." should read, "...the frequency is phase inverted."

Extremely valuable for the technically oriented.
This book is an excellent resource, particularly for those with technical orientations in math and science. It requires a basic understanding of physics and calculus, and an understanding of some recording principles. Mark Ballora comes from a very strong background - New York University and McGill University are the top schools in North America for Music Technology - and the information is presented in a logical, straight-forward and easy-to-undertand format. I am currently using the text as a resource for my physics research project, and would recommend it to any music technology student with an understanding of physics and calculus. ... Read more

Product Description
Fully updated for Finale 2004 (for Macintosh and Windows), this book remains the definitive guide for understanding and using this powerful, state-of-the-art music notation software. Readers looking to transcribe an existing piece of music or create an original work will learn the intricacies of Finale — one step at a time — to enter, edit, hear, view, lay out, and print publisher-quality music. Rounding out the lessons are numerous skill-building exercises and projects. ... Read more

Book Description

Customer Reviews (2)

A Must Read!
Rave Culture captures a quintessential period that unleashes feelings of nostalgia.These feelings are evoked by the creative writings of the author, who brings to life the effects of social and political factors that has plagued the rave scene world. Dr. Anderson cleverly takes the reader on a journey where they are transported to a world of electronic dance music, drugs and sordid club rooms transcending the ocean, from Ibiza to Philadelphia.This illuminating expose is a must read for all those seeking to understand the implications of the Rave Culture on society.

In depth and fascinating
Anderson's in depth first hand observation and description of the rave scene is fascinating.Her research is thorough and she lays out a logical framework to support her theories.At the same time, her use of embedded interviews and well written descriptive narrative keeps the reader engaged and entertained while still being educated in the underlying social values that drove this transition. ... Read more

Product Description
What does your favorite music look like? How can you visualize raw energy or sophisticated lounge sounds? And how could you create packaging for that album? Sonic answers these questions with 320 striking pages of today’s best-designed record covers and concert posters. Worlds apart from another rehash of the standards of the 1960s and 70s, this book focuses on contemporary examples from underground and indie music, pop, alternative rock and electronica.

An engaging cover and packaging design have become key reasons for listeners to buy music in its traditional forms. With the rapid proliferation of MP3s, effectively designed music covers are increasingly necessary for the success of an album in today’s stagnating music industry.

Sonic is a source book designed to inspire music insiders and graphic artists creating music packaging.With its stunning visuals from today’s most exciting music, Sonic also appeals to a general audience of concertgoers, gift givers and all those interested in intelligent "pop" culture. ... Read more

Customer Reviews (4)

better than expected
i bought this because im a graphic designer who works primarily in the music industry, and love seeing other peoples work for inspiration and such. i was afraid this would have a ton of lame artwork surrounding major label artists (dont get me wrong, their stuff is good, but there are so many great indie bands with amazing artwork), but to my surprise, this book is heavily based on just fantastic artwork of both established and not-so-established bands. really has some amazing work in it!

Great Resources
great images from all over the world (mostly europe and western countries. awesome graphics and photography.

Good Inspiration for designers
Music is trendsetting. Music design is as well. Sonic delivers contemporary covers, posters, and ads from music today which is great for any designer wanting to stay current with the trends of design.

diverse art going with contemporary popular music
SONIC - Visuals for Music compiled and edited by Robert Klanten, Hendrik Hellige, and Tom Hulan. Die Gestalten Verlag, Berlin, Germany; www.die-gestalten.de. 2004. 335 pp. $50.00 hardcover, ISBN 3-89955-040-4. color photographs and illustrations.
"Sonic" is an extended kaleidocope of the colors, shapes, and images of CD covers, album covers, and promotional and tour posters for popular singers and groups mostly from Europe and the United States. The innumerable graphics, art work, photographs, and combinations of these in all styles--from realistic to ironic to psychedelic to postmodern--are presented without captions except for notes on the name of the individual or art shop that did the design, the performer, and the medium (e. g., CD cover). In visually cataloging the hundreds of commercial works used in promoting and selling popular singers and bands in the highly competitive field of popular music, "Sonic" contains the many styles of state-of-the-art and some cutting-edge marketing; and also the diversity of the contemporary visual culture, as seen also in film, music videos, and TV advertising. It's a book to enjoy for anyone interested in the field of popular music and today's visual culture. Commerical artists and marketers especially would benefit from it. Contact information for the designers noted with the particular works is found in a section at the end of the book. ... Read more

Product Description
A special edition of over 100 songs for all occasions... Classical themes, hymns & sacred songs, polkas, international folk songs, singalongs, waltzes. Plus a brief playing guide for instant results. ... Read more

Product Description
This is not only the most comprehensive guide to electronica music ever published, itÕs also the easiest to use, and equally engaging for everyone from newbies to long-time collectors. From electronicaÕs good-times dance floor origins through the dark, dystopian strains of jungle, it profiles the lives and careers of 1,200 artists, including Aphex Twin, The Chemical Brothers, Masters at Work, Carl Craig, Prodigy and Massive Attack, and rates and reviews 5,000 of these innovatorsÕ recordings. The book also provides "music maps" charting each sub-genreÕs progression, a concise historical overview of electronica, and details on electronica resources - book reviews, record labels, online mail-order sources, and more. ... Read more

Customer Reviews (9)

Definitive Guide?!? Nah!!!
I picked up that book a while ago, thinking I had found some sort of Holy Grail. Reality check! This so-calleddefinitive guide is so full of errors, omissions and such that even the most braindead raver could have made a better job! Not to mention that most of the bands/artists discography is incomplete.

Being a life-long fan of electronic music (especially of Industrial & EBM) I couldn't help but noticed some insanities. Here a few.

1) Straight in the beginning of the book ("Brief Style Description" > Industrial Dance"). The authors are mentioning Front 242 (cool!)... but guess what? There is no entry for Front 242 in the "Definitive Guide"!!! Yeah, who cares about those belgians innovators who coined the style known as EBM (Electronic Body Music)? Laughable.

2) Now go to the Skinny Puppy entry. What's wrong with it? Read the first paragraph carefully. cEvin Key is listed as "the former singer of Images In Vogue". What??? That's new to me... I thought I heard Mr. Crompton himself said he only been the drummer (to pay the rent). Thanks guys to enlighten me. cEvin, you lied to us all Puppy fans!

3) Anyone remember the late Frank Tovey? You know, that guy from UK who made quite a sensation in the 80s on the electro scene? No? Fad Gadget was the name of his band... on Mute Records. Yep, sharing the slot with Depeche Mode... Remember now? Ok, another hint, his live performances were totally wild and his music minimalist? Well... don't worry if you don't remember, the authors didn't do any good either.

4) A tricky one now. Who inspired Wumpscut, Allied Vision, Leather Strip, Hocico and another handful of dark electro-industrial bands? They were german. No, not Kraftwerk. Another try? yelworC!!! But they doesn't count since they only released a handful of tapes, singles, and a full lenght album & an anthology before one of the former member left to create amGod. But I bet you never heard of them either. Nevermind, neither the authors of The Definitive Guide.

5) Talking about obscure bands, the authors did a remarkable job at ignoring Klinik, whom dark icy minimalist electro-industrial muzak didn't make much of a difference on the scene in the 80s.

and the list drags on forever on multiple levels.

The only point worth mentioning about this joke book is the efort the authors deployed to describe styles of electronic music, put them in categories and draw tables showing off ramifications. That alone prevail me from throwing the book away.

Let's all consume large amount of MDMA and let's read the electronic bible while reading entries about obscure DJs that shaped the present music (and the one to come)!

Unbelievably Unfocused and Underlisted
Actually, 1.5 stars: this has to be, without doubt, the most unfocused and incomplete AMG ever produced. I agree with the reviewer who asserted that AMG simply cut and pasted content off their web site and quickly threw together this diffuse hodge-podge of questionable and incomplete listings. Caveat Emptor: this book is not the 2nd edition like Amazon lists it as. 2nd editions generally take what was wrong with firsts, correct, and expand.This is what the AMG brain-trust needs to do with this book: the foundation is there, just seriously review content, edit out what isn't true electronica (by their admitted definitions), and expand to include other artists, including the complete discography (you don't have to review each album, just list) of established artists and the genre's prolific indies like Thumbtack Smoothie and Voice of Eye. So what if it approaches 1,200 pages? Same with Pop: unless they're cutting-edge contributers like Blancmange or Gary Numan, leave all the 80's synth-pop and hair-band fluff out; C'mon AMG,Flock of Seagulls and Talk Talk? Plus, devoting nearly three pages to verbose, hyper-detailed reviews of every Prince album, yet hardly any attention to the shifting careers and prolificoutput of ground-breakers like Tangerine Dream and Klaus Schulze? Some listings are just plain insulting: the superficial Sun Ra discography is a huge disservice; although Sun Ra did introduce electronics into the jazz idiom, the music was still jazz--artists like this should be given full attention in the AMG Jazz Guide. Likewise, rock-oriented artists should remain in the AMG Rock Guide; I like Radiohead and Pink Floyd, but they seem woefully out of place here (in the case of PF, they stop the discography listings at "The Wall." Who was in charge of this project?) And if AMG wishes to questionably include the "Shoegazer" movement as electronica, why list My Bloody Valentine and leave out Lush or Catherine Wheel?Be consistent!!

Not that the book is all bad.The essays and chart maps on how all the various electronica sub-genres evolved are informative reading, and push the book up 1/2 star. Plus they give good attention to all the various DJ's and their respective roles in the genre's development. And thankfully Yanni and John Tesh aren't included (there is a benign God, after all.) The foundation is here; nonetheless, AMG needs to start over with this guide, review, cut, and expand. Better yet, maybe an enterprising MUSICHOUND editior will read these reviews and decide to produce and release their own competing guide. At least they won't short-shrift the artist's discography for the sake of space. Who knows, they might even include a photo or two....

Decent guide, but some strange choices
If you need a guide electronic music, and don't have a lot of access to the internet (and if you don't you probably won't be reading this review anyway), this is really the only source.However, I find that there is a lot missing from it.It deals with mostly mainstream artists, with a decent amount of independents.However, it seems to feature a very high concentration of dance music artists and DJs.Also, it includes some bizarre choices such as bands like Godspeed You Black Emperor, Sigur Ros, Labradford, Mogwai and other "post-rock" bands that really have little to do with electronic music.I love these bands, but it doesn't seem to me that they belong in this book.I also find a lot of their reviews to be very harsh toward experimental music and overly praising of more unoriginal genres.

Good now, getting less good every day
But that, of course, isn't really this particular book's fault, but rather the reality for any printed survey of a topic that's constantly evolving. Like previous reviewers have said, you might want to just checkout the allmusic web site, unless you're a freakishly obsessed collector or are using a gift certificate and feeling a little more free than usual with what you buy (like me).

A useful resource, but why buy the book?
This book is the best (and, admittedly, the only) guide to electronic music I have ever seen in book form. However, all the information in this book is also available for free at allmusic.com. Since the website is updated and hypertextually cross-referenced, the book is actually a somewhat less useful format, albeit more convenient in some ways. Of course, buying it does give money to the people who thought to create such an exceptionally useful resource. ... Read more

Product Description
The groundbreaking mix CD that accompanies this book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of the CD's content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music. (For a complete list of audio credits, see below.)

If Rhythm Science was about the flow of things, Sound Unbound is about the remix—how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society. The topics are as diverse as the contributors: composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; Ron Eglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen explores the influence of Islam on hip hop; rapper Chuck D contributes "Three Pieces"; musician Brian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interview composer-conductor Pierre Boulez; and much more. "Press 'play,'" Miller writes, "and this anthology says 'here goes.'"

Contributors: David Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner.

On the CD:

1. RadioMentale and Matthew Herbert, "Cool Noises"
2. Martyn Bates/Allen Ginsberg, "Once Loved/A Footnote to 'Howl' (DJ Spooky Remix)"
3. Jean Cocteau, "Le buste (DJ Spooky Remix)"
4. Sun Ra, "Imagination"
5. Mikhail/Gertrude Stein, "Untitled in CoF Minor/A Valentine to Sherwood Anderson (DJ Spooky Remix)"
6. DJ Spooky vs. Rob Swift, "Scratch Battle"
7. Marcel Duchamp/The Master Musicians of Joujouka/RadioMentale, "The Creative Act/Interview with George Heard Hamilton/Boujeloud (Solo Drums)/I Could Never Make That Music Again"
8. Raymond Scott, "The Paperwork Explosion"
9. Alter Echo/Pamela Z, "Perpetual Next/Pop Titles 'You'"*
10. Liam Gillick/ RadioMentale and Aphex Twin, "Sarah (Los Angeles Soundtrack)/I Could Never Make That Music Again"
11. James Joyce/Erik Satie, "Eolian Episode/Gnossiene (DJ Spooky Dub Version)"
12. Steve Reich, "Reed Phase"
13. Shukar/RadioMentale/Raoul Hausmann, "Cika-Laka/Cool Noises/Bbb"
14. Augustos de Campos/Bill Laswell/To Rococo Rot, "Dias Dias Dias (Spoken by Caetano Veloso)/Above the Earth/Contacte"
15. John Cage, "Rozart Mix"
16. Antonin Artaud, "Pour Finir avec le Jugement de Dieu (To Have Done with God's Judgment) (DJ Spooky Remix)"
17. DJ Spooky, "One Laptop Theme"
18. Susan Deyhim, "The Spilled Cup (DJ Spooky Remix)"
19. Raymond Scott, "General Motors: Futurama (Interstitial)"
20. Marcel Duchamp/George Lewis and Aki Takase, "Erratum Musical (Score for Three Voices)/Voyage for Three"
21. Bill Laswell/René Magritte, "Ghost Dub/Le Surréalisme et les Questions"
22. Anthony Braxton and Evan Parker/Pauline Oliveros, "The First Set— Area 4 (Solo)/A Little Noise in the System (Moog System)"
23. Bora Yoon, "// (DJ Spooky Remix)"
24. Pierre Schaeffer, "Cinqétudes de bruits: Étude violette"
25. Daniel Bernard Roumain and Ryuichi Sakamoto, "The Need to Be"**
26. Phillip Glass, "Music in Fifths"
27. Edgard Varèse, "Poème électronique"
28. Iannis Xenakis, "Concret PH"
29. Ryoji Ikeda, "One Minute"
30. Sonic Youth, "Audience (DJ Spooky Remix)"
31. Alter Echo/Ge-te Do-pe, "Aftermath of Creations Dub (in Three Parts)/Dong Lim"
32. Terry Riley/Alter Echo, "Dorian Reeds/Aftermath of Creations Dub (in Three Parts)"
33. Luigi Russolo/DJ Spooky, "Corale/FTP > Bundle/Conduit 23"
34. Fanfare Savale/Vladimir Mayakovsky, "Rumba Lu Georgel/I Know the Power of Words"
35. Droma/Trilok Gurtu and Bill Laswell, "Pilgrim's Song (Trala Shepa)/Kala"
36. Nam Jun Paik, "Hommage à John Cage"
37. Morton Subotnick/DJ Spooky, "Mandolin/Acid Bassline"
38. The Master Musicians of Joujouka/Hans Arp, "Mali Mal Hal M'Halmaz/Boujeloud (Solo Drums)/Dada-Sprüche"
39. Sub Swara/Kurt Schwitters, "Koli Stance/Anna Blume"
40. Walter Ruttmann/Troupe from Taschingang, "Week End/Ache Lhamo"
41. Raymond Scott, "Bendix 1: The Tomorrow People"
42. Martyn Bates/Trinlem, "I Can't Look for You/The Palaces of Gesar's Family (DJ Spooky Remix)"
43. Otto Luening and Vladimir Ussachevsky, "Incantation for Tape"
44. Carsten Nicolai, "Time ... Dot(3)"
45. William S. Burroughs and Iggy Pop with Techno Animal, "The Western Land"

Customer Reviews (7)

Fascinating AND Fun
Educating yourself should always be this much fun!I especially enjoyed the intro by Steve Reich, and Jeff Winner's chapter.The CD that comes with the book is the perfect soundtrack while reading.Mr. Miller has done a fantastic job of assembling talent for his collection; not only Mr. Winner and Reich, but others like Brian Eno, Chuck D., and many more.I've read most of this book twice already - highly recommended!

A Worthwhile Purchase.
Great Book.A lot of intelligent essays on very relevant topics.As someone who enjoys sampling digital music, I find it very helpful to hear what my peers are thinking about the varying issues surrounding the activity.Some ideas are new to me and get my gears spinning, some of them are problems I've wrestled with myself, such as the moral dilemma embedded in the digital sampling culture.Is it thievery?Should laws be enacted to punish it?Should we do it at all, out of respect for the original artist?Some essays are more difficult to follow on account of references to so many artists and their works that I am unfamiliar with.However, others are a quick and enjoyable read that are pleasantly easy to comprehend, while still no less important to the book as a whole.Again, great read.

Sounds good, reads even better.
This book is excellent. It comes with a a CD of some really excellent mashup too. I've really enjoyed the differnt writing styles and the great anecdotes that present themselves in this compilation of what is essentially a book of post-graduate papers on music and it's evolving relationship with the world. Delightfully rich with first person experience and gives you something to listen too in the background.Yummy for my sonic tummy.

Sound Has Never Transvered at Such Speeds!
Sound Unbound brilliantly details the explosion of culteral diffusion in the 21st century as a result of advancements in technology.The book consists of several excellently written essays whose authors range from rappers to scientists, sampling various viewpioints from one another.DJ Spooky successfully conveys how both in the past and today, now more than ever, art is naturally derrivative; stemming from one source after another.

What a trip!
I just finished this one. If you're looking for insight from the myriad influential contributors, you'll find that and much more here. The book's themes run deep, weaving together music history and theory with meditations on technology, perception, and cultural zeitgeist. I went in curious how the ideas of Brian Eno, Bruce Sterling, Cory Doctorow, and Chuck D would cohere under the editorial hand of DJ Spooky. Color me surprised - it's an enlightening trip! A must-read! ... Read more

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Customer Reviews (2)

Tech Integration Resource
I recommend this book for Elementary Music Teachers as we head further into the 21st Century and incorporate more technology into our music curriculums.It's a good hands on reference book and one I'd recommend for you resource library. Technology Integration in the Elementary Music Classroom (Book)

Outstanding - A needed addition to any music ed tech library
Finally, a book that focuses specifically on elementary music technology. This book features plans that are tied to MENC and Technology Institute for Music Educators standards. Many concepts and plans can be modified for middle/high school classes. The lesson plans are a compilation from other music education technology professionals. ... Read more

Customer Reviews (1)

Required Reading
This collection represents for me some of the best writings on electronic music aesthetics' I have read. As a practicing explorer of using electronics as both sound source and composing tool,I found the essays here full of thought provoking questions as to the uniqueness and problems of the medium and inspiring connections to theories outside of the music discipline such as linguistics and information theory. Highly recommended to anyone seriously interested in electronic music composition. ... Read more

Product Description
Master Sibelius music notation software step by step with the most complete how-to guide available. Designed for both novice and experienced musicians, composers, producers and arrangers, it contains a variety of examples, from single-line melodies to complex scores. Written by two proven experts, trainers and authors in the field of music notation software, this book - now revised and updated - will be a constant reference for all of your Sibelius questions and needs. ... Read more

Customer Reviews (7)

Decent But Flawed
This book is a decent text badly in need of an update.I enjoy the text because it's a book with a sense of humor that walks the user through every procedure it describes slowly and succinctly.However, even when using version 4 of the software, there are some instructions that simply do not make sense.In some cases, what you are told to do is simply incorrect.I even checked the errata list available from the author's website and it does not contain all of the errors I've uncovered going through this text multiple times.The Brahms Intermezzo score contains an example of this situation. The user is supposed to change the system spacing to make more room, but the number given is so far out of range that the software won't even allow it.From the same chapter, you're supposed to be able to make more room between some notes by manually breaking system layouts.No problem except that the bars where you're told to break the system are already broken there.So how do you make more room to move notes around?I don't know.So off to the Sibelius forum you will go on a number of occasions.

There are also times when the author will describe what needs to be done but doesn't say that he'll describe the process later.The first couple of times I encountered that issue, I thought that I had missed a step and so retraced all of the steps thoroughly.I didn't realize that I was wasting my time.After I learned my lesson, if I came across a section that didn't specifically tell me what to do, I would skim through the next few pages to try to find where the process was explained, but this shouldn't be necessary.Just tell me that we'll get to it later.What ultimately makes this confusing is that the author does explain this to the user a few times but it's not done consistently which can be a time waster.

Overall, this book is a decent value for the amount and the clarity of the information it contains, but be prepared to solve some mysteries on your own.If you're starting as a complete novice, you will encounter some problems that will simply leave you scratching your head and then using Google.

Sibelius: Guide
This is a good book for the absolute beginner. It would also work well as a classroom text. I would have preferred more of an encyclopedic approach, since I have some experience with this program and others in the same field. Specifically, I want to find specific answers to specific questions. I don't want to follow an example step-by-step and perchance stumble across the information I want. I daresay most readers will not be as exacting.

This book refers to Sibelius 4 which is outdated
This book is very comprehensive, yet it describes an outdated version of Sibelius 4, while the current version is 6.

A good guide, but for an older version
Yes this is a well-written book, and yes I use it frequently when encountering a new technique I haven't tried yet. Sometimes it's faster than searching the "Sibelius Reference" PDF that comes with the software.

I was, however, disappointed that this book was specifically written for Sibelius 4.0.Not that the info contained is that out-of-date or inaccurate, but there are so many new features now in the current Version 5 that it makes this book incomplete for new Sibelius users just jumping in on Version 5 like I did. I did not see anywhere in the Product Description that told me I was buying an outdated manual. The book still is helpful, but I wish I could have waited for a version 5 guide to come along. (I heard one is "in the works" somewhere by a different author.)

Great teaching companion
extremely well written book.great format and sequence.absolutely great companion for learning sibelius. ... Read more

Product Description
Step-by-step instructions on topics such as Using Presets, Performance Controls, Editing Presets, Editing in Performance—over 100 musical examples, diagrams and exercises in programming that will assist the novice or experienced musician in achieving a more musical performance. ... Read more

Customer Reviews (1)

A very interesting book
This is an interesting book, if you understand and accept its limitations. The book was written in 1986... so it's not really up-to-date. This is not the place to look for the latest technology or DAW so if you need ONE book on synthesizer, look elsewhere.
Yet this is a good book because it mostly covers topics that more recent books ignore, making it a welcomed addition to a well-stocked bookshelf. In particular it explains how to play idiomatically, i.e. to play like the actual instrument you've loaded in your synth: bass, strings, piano, organ, harpsichord, clavinet and lead synth (lead is a bit old-fashioned, admittedly) are covered. This is one of the most comprehensive coverage of this topic that I have found. Although modern keyboards offer more assistance than what was available in the 80s, I found this material very useful. Next it moves into effective use of pitch-bending, modulation and pedals. Again the depth of the treatment is impressive.
The sections on editing sounds are well written but be warned that they cover analog synth only. The material applies to virtual analog synth (VA) as well so it's worth reading but it is not unique and you could find a good treatment of this subject in more recent books. After all VA synths remain popular, if judging from recent offerings like the microKorg XL.
The book ends with a section on lead synth and solos(including transcriptions of solos from Keith Emerson or Steve Porcaro and David Paich --Toto--)... although it is fun to read, this material is really dated.
Last but not least note that the first sections on performance, which is definitively the most unique material, is available separately in Playing Synthesizer: A Beginners Guide for a slightly reduced price. Given the small price difference, I'd suggest you get this edition and at least browse through the last sections. ... Read more

Product Description
Electroacoustic music, a flourishing medium for over half a century, remains today, in a wide array of technological forms, one of the major areas of creative activity in music. However, it has long been overlooked in theoretical studies--possibly in part because it does away with traditional "scores" and notation. In this landmark collection, a group of distinguished composers and theorists who have actively worked in the field present detailed analyses of important electroacoustic works while also demonstrating some recent approaches to the analysis of the music of this medium. Included here are discussions of such significant works as Karlheinz Stockhausen's Gesang der Junglinge (1955/56), Iannis Xenakis' Diamorphoses (1957), and Jean-Claude Risset's Contours (1982). Overall, the collection aims to elucidate the sonic design of each of the electroacoustic music works under investigation, using its best examples as a lens through which to examine an unduly neglected genre. ... Read more