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oapen-20.500.12657-328582021-11-04T14:13:55Z Instruments for New Music: Sound, Technology, and Modernism Patteson, Thomas music and technology acoustic technology electronic musical instruments musical instruments Hans Heinz Stuckenschmidt Paul Hindemith Sound film Timbre bic Book Industry Communication::A The arts::AV Music bic Book Industry Communication::A The arts::AV Music::AVA Theory of music & musicology bic Book Industry Communication::J Society & social sciences::JF Society & culture: general::JFD Media studies bic Book Industry Communication::T Technology, engineering, agriculture::TB Technology: general issues::TBX History of engineering & technology 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. 2016-02-12 00:00:00 2020-04-01T14:20:59Z 2020-04-01T14:20:59Z 2015 book 602282 OCN: 960164725 9780520963122 http://library.oapen.org/handle/20.500.12657/32858 eng application/pdf Attribution-NonCommercial-ShareAlike 4.0 International 602282.pdf https://doi.org/10.1525/luminos.7 University of California Press 10.1525/luminos.7 10.1525/luminos.7 72f3a53e-04bb-4d73-b921-22a29d903b3b 9780520963122 250 Oakland, California open access
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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.
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