These early works, characterized by a relentless pulse and static harmony, focused single-mindedly on the process of gradual rhythmic change. Throughout his career, Reich has continued to reinvigorate the music world, drawing from a wide array of classical, popular, sacred, and non-western idioms. His works reflect the steady evolution of an original musical mind.Writings on Music documents the creative journey of this thoughtful, groundbreaking composer. These 64 short pieces include Reich's 1968 essay Music as a Gradual Process, widely considered one of the most influential pieces of music theory in the second half of the 20th century. Subsequent essays, articles, and interviews treat Reich's early work with tape and phase shifting, showing its development into more recent work with speech melody and instrumental music. Other essays recount his exposure to non-western music -- African drumming, Balinese gamelan, Hebrew cantillation -- and the influence of these musics as structures and not as sounds. The writings include Reich's reactions to and appreciations of the works of his contemporaries (John Cage, Luciano Berio, Morton Feldman, Gyorgy Ligeti) and older influences (Kurt Weill, Schoenberg). Each major work of the composer's career is also explored through notes written for performances and recordings.Paul Hillier, himself a respected figure in the early music and new music worlds, has revisited these texts, working with the author to clarify their central narrative: the aesthetic and intellectual development of an influential composer. For long-time listeners and young musicians recently introduced to his work, this book provides an opportunity to get to know Reich's music in greater depth and perspective.

    It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

    This site features a selection of chapters from the book.

    Svenonius’s cult-classic debut essay collection, including brand-new writing in this expanded edition.A new, expanded collection of essays and articles from one of the mainstays of the Washington, DC, underground rock and roll scene, The Psychic Soviet is Ian F. Svenonius’s groundbreaking first book of writings. The selections are written in a lettered yet engaging style, filled with parody and biting humor that subvert capitalist culture, and cover such topics as the ascent of the DJ as a star, the “cosmic depression” that followed the defeat of the USSR, how Seinfeld caused the bankruptcy of modern pop culture, and the status of rock and roll as a religion. The pocket-sized book is bound with a durable bright-pink plastic cover, recalling the aesthetics of Mao’s Little Red Book, and perfect for carrying into the fray of street battle, classroom, or lunch-counter argument.

    In this edition, you will learn about the history and evolution of mixing, various mixing styles, the six elements of a mix, the rules for arrangement and how they impact your mix, where to build your mix from, and mixing tips and tricks for every genre of music. You will also learn the secrets of EQ and the magic frequencies, along with tips and tricks for adding effects, EQ'ing reverbs, effects layering, calculating the delay time, and much more. A lot has changed in the recording industry since the last edition was published seven years ago, so this new edition provides completely updated information on tips for a loud mix, hypercompression, mixing for Internet distribution, warning signs of an amateur mix, MP3 encoding, streaming audio, audio codecs, de-essing, gating, surround sound mixing, and more. There is also a completely new chapter on how to get the most from mixing inside your computer, as well as a new section on the bass/drum relationship and how to make this difficult part of the mix easy. The book wraps up with insightful interviews with the top engineers in the field, including George Massenburg, Allen Sides, Bruce Swedien, Elliot Scheiner, Andy Johns, Nathanial Kunkel, and several others. Join the tens of thousands of engineers who have used this book to master the art of mixing.

    The worst part: you could be infected, too.

    In Rules of Play Katie Salen and Eric Zimmerman present a much-needed primer for this emerging field. They offer a unified model for looking at all kinds of games, from board games and sports to computer and video games. As active participants in game culture, the authors have written Rules of Play as a catalyst for innovation, filled with new concepts, strategies, and methodologies for creating and understanding games. Building an aesthetics of interactive systems, Salen and Zimmerman define core concepts like play, design, and interactivity. They look at games through a series of eighteen game design schemas, or conceptual frameworks, including games as systems of emergence and information, as contexts for social play, as a storytelling medium, and as sites of cultural resistance.Written for game scholars, game developers, and interactive designers, Rules of Play is a textbook, reference book, and theoretical guide. It is the first comprehensive attempt to establish a solid theoretical framework for the emerging discipline of game design.

    Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

    As a musician he organized the International Festival of Baroque Opera and Theatre at Versailles in the early 1990s, and thus was instrumental in the rediscovery of much forgotten classical music. Yet in 1994 he abruptly renounced all musical activities. The Hatred of Music is Quignard’s masterful exploration of the power of music and what history reveals about the dangers it poses.   From prehistoric chants to challenging contemporary compositions, Quignard reflects on music of all kinds and eras. He draws on vast cultural knowledge—the Bible, Greek mythology, early modern history, modern philosophy, the Holocaust, and more—to develop ten accessible treatises on music. In each of these small masterpieces the author exposes music’s potential to manipulate, to mesmerize, to domesticate. Especially disturbing is his scrutiny of the role music played in the concentration camps of Nazi Germany. Quignard’s provocative book takes on particular relevance today, as we find ourselves surrounded by music as never before in history.

    

    Illustrated throughout with photographs from Joseph Campbell's family archive and with a new, revised introduction, The Hero's Journey introduces the reader first-hand to Joseph Campbell the man, his discoveries, his terminology, and his thinking.

    Harmonograph is an introduction to the evolution of simple harmonic theory, from the discoveries of Pythagoras to diatonic tuning and equal temperament. Beautiful drawings show the octave as triangle, the fifth as pentagram; diagrams show the principles of harmonics, overtones, and the monochord. Anthony Ashton examines the phenomenon of resonance in Chladni patterns, describes how to build a harmonograph of your own, and provides tables of world tuning systems. This inspiring book will appeal to musicians, mathematicians, designers, and artists alike.

    Lipstick Traces tells a story as disruptive and compelling as the century itself. Hip, metaphorical and allusive...--Gail Caldwell, Boston Sunday Globe. Full-color illustrations and halftones.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of WEB Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.