This accessible Introduction explores both mainstream and experimental manifestations of electronic music. From early recording equipment to the most recent multimedia performances, the history of electronic music is full of interesting characters, fascinating and unusual music, and radical technology. Covering many different eras, genres and media, analyses of works appear alongside critical discussion of central ideas and themes, making this an essential guide for anyone approaching the subject for the first time. Chapters include key topics from synth pop to sound art, from electronic dance music to electrical instruments, and from the expression of pure sound to audiovisuals. Highly illustrated and with a wide selection of examples, the book provides many suggestions for further reading and listening to encourage students to begin their own experiments in this exciting field.
Parkinson’s disease (PD) is a complex diagnosis commonly associated with motor dysfunction, but known to comprise cognitive, psychiatric, and mood disturbances as well. Music has been successfully used to address motor and non-motor symptoms of PD. Still, little is known about the nature of an individual with PD’s experience and relationship with music on conceptual and emotional levels, which may factor into their engagement in music-based techniques to ameliorate impairments. Two surveys were administered to 19 individuals with PD and 15 individuals without PD in order to gauge their subjective impressions and valuations of music. Participants completed The Brief Music Experience Questionnaire (BMEQ), a standard self-report measure pertaining to the role of music in one’s life, prior to performing a perception task which involved listening to and making sound adjustments to three music recordings. Following the perception task, a custom Exit Survey was administered to evaluate the experience of listening to and engaging with the music in the perception task. In all six dimensions of the BMEQ, examining aspects of music experience including commitment to music, self-reported musical aptitude, social uplift, affective reactions, positive psychotropic effects, and reactive musical behavior (RMB, pertaining to actions or behaviors in response to music), the mean and the median were greater for the control group than for the PD group, but the difference was only statistically significant in the RMB dimension. On the Exit Survey, both groups assessed recent, specific, and interactive music listening more positively than the imagined, hypothetical or general music experiences addressed on the BMEQ. Additionally, familiarity had a greater effect on listening pleasure for participants with PD than those without PD. We conclude that people with PD may perceive less of an automatic connection between music and activity than their healthy peers. Additionally, they may receive more pleasure and value from music than they anticipate. Taken together, our results suggest that people with PD may require encouragement to participate as well as empowerment to choose familiar selections in order to better access music-based interventions and the benefits they can offer.
Each year the University of Illinois at Urbana-Champaign presents a concert that highlights collaborations between its graduate composers and pianists. In the two decades since it first received funding from donors Richard C. Anderson and Jana M. Mason, it has made a space for emerging composers and pianists to examine the historical and contemporary roles of composer and pianist. Among the twenty years of selected presenters, some notable examples include Brad Decker and Soohyun Yun, John Nichols III and
In the early 1930s, maverick composer Henry Cowell collaborated with inventor Leon Theremin to build an electronic instrument capable of producing intricate polyrhythms. This instrument, dubbed the Rhythmicon, can be considered a rudimentary example of an interactive music system. Cowell and Theremin created the machine to fulfil a compositional need, but it ultimately failed to become a successful musical instrument. The Rhythmicon was one of the first electronic music instruments to use technology to extend performers' musical capacities, anticipating the interactive computer music movement by several decades. Despite its shortcomings, the Rhythmicon should be remembered as an important step on the road to interactivity.
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