000			03951cam a22006494a 4500
001			musev2_63421
003			MdBmJHUP
005			20240815120754.0
006			m o d
007			cr||||||||nn|n
008			150721s2016 cau o 00 0 eng d
010			_z 2019667629
020			_a9780520963122
020			_z0520963121
020			_z9780520288027
035			_a(OCoLC)1089420946
040			_aMdBmJHUP _cMdBmJHUP
100	1		_aPatteson, Thomas, _eauthor.
245	1	0	_aInstruments for New Music : _bSound, Technology, and Modernism / _cThomas Patteson.
264		1	_aOakland, Calif. : _bUniversity of California Press, _c2016.
264		3	_aBaltimore, Md. : _bProject MUSE, _c2019
264		4	_c©2016.
300			_a1 online resource (250 pages).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
505	0		_aListening to instruments -- "The joy of precision" : mechanical instruments and the aesthetics of automation -- "The alchemy of tone" : Jörg Mager and electric music -- "Sonic handwriting" : media instruments and musical inscription -- "A new, perfect musical instrument" : the trautonium and electric music in the 1930s -- The expanding instrumentarium.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_a"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."--Provided by publisher
546			_aEnglish.
588			_aDescription based on print version record.
650		7	_aMusik _2gnd
650		7	_aNeue Musik _2gnd
650		7	_aMusikinstrument _2gnd
650		7	_aMusical instruments. _2fast _0(OCoLC)fst01030728
650		7	_aMusic _xPhilosophy and aesthetics. _2fast _0(OCoLC)fst01030408
650		7	_aMusic and technology. _2fast _0(OCoLC)fst01030490
650		7	_aMass media. _2fast _0(OCoLC)fst01011219
650		7	_aEngineering. _2fast _0(OCoLC)fst00910312
650		7	_aElectronic musical instruments. _2fast _0(OCoLC)fst00907371
650		7	_aCommunication. _2fast _0(OCoLC)fst00869952
650		7	_aCivil engineering. _2fast _0(OCoLC)fst00862488
650		7	_aMUSIC _xHistory & Criticism. _2bisacsh
650		6	_aMusique _xPhilosophie et esthetique.
650		6	_aMusique et technologie _xHistoire.
650		6	_aInstruments de musique electroniques _xHistoire.
650		0	_aMusical instruments.
650		0	_aMusic _xPhilosophy and aesthetics.
650		0	_aMusic and technology _xHistory.
650		0	_aElectronic musical instruments _xHistory.
655		7	_aHistory. _2fast _0(OCoLC)fst01411628
655		7	_aElectronic books. _2local
773	0		_tDe Gruyter Open Books. _dDe Gruyter
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/63421/
999			_c232347 _d232346