![]() ![]() It is here that the difficulties with attempting a historical approach of this sort within a multi-author volume are at their most apparent. The first section of the volume deals with the contexts of electronic music and is, in essence, a survey of the historical terrain, covering "The origins of electronic music" (Andrew Hugill), "Electronic Music and the studio" (Margaret Schedel), "Live electronic music" (Nicolas Collins) and "A history of programming and music" (Ge Wang). This certainly is one of the key aims of Collins' and d'Escrivan's Cambridge Companion to Electronic Music, and is a goal in which it succeeds, at least in part. At a time when one of the world's leading centers for electronic music, the Studio for Electro-Instrumental Music (STEIM), is coming under serious governmental scrutiny for being "closed and only appealing to a niche audience" (see STEIM's Web site, for more information ), a volume which demystifies the theory and practice of electronic music is urgently needed. ![]() ![]() 1), the institutional support for electronic music is now under tighter examination than at any point in the past. ![]() Although Nick Collins and Julio d'Escrivan declare in the opening sentence of their introduction that "electronic music is the mainstream" (p. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |