- Title Pages
- Dedication
- Preface
- Illustrations
- About the Companion Web Site
- 1 The Background to 1945
- 2 Paris and <i>Musique Concrète</i>
- 3 Cologne and <i>Elektronische Musik</i>
- 4 Milan and Elsewhere in Europe
- 5 America
- 6 The Voltage‐Controlled Synthesizer
- 7 Works for Tape
- 8 Live Electronic Music
- 9 Rock and Pop Electronic Music
- 10 The Foundations of Computer Music
- 11 From Computer Technology to Musical Creativity
- 12 The Microprocessor Revolution
- 13 The Characteristics of Digital Audio
- 14 The Development of the MIDI Communications Protocol
- 15 From Analog to Digital: The Evolution of MIDI Hardware
- 16 From Microcomputer to Music Computer: The MIDI Perspective
- 17 Further Advances in Hardware Design
- 18 The Changing Fortunes of the MIDI Manufacturing Sector
- 19 From Minicomputer to Advanced Computer Workstation
- 20 The Personal Computer
- 21 The Digital Audio Workstation
- 22 Laptop Music and Related Activities
- 23 Synthesis, Signal Processing, and Spatialization
- 24 Performance Controllers, Evolution and Change
- 25 The Internet
- 26 Conclusion
- Bibliography
- Index
Rock and Pop Electronic Music
Rock and Pop Electronic Music
- Chapter:
- (p.168) 9 Rock and Pop Electronic Music
- Source:
- Electronic and Computer Music
- Author(s):
Peter Manning
- Publisher:
- Oxford University Press
This chapter focuses on the development of rock and pop electronic music. It argues that the steady integration of electronic devices with more traditional rock and pop instruments established an important link on a purely technical level with the main genres of electronic music, one that has largely remained unbroken to the present day. Artistic links, however, have proved far more tenuous, for the philosophical and stylistic differences have not proved easy to bridge. Furthermore, excursions into new sound worlds by rock and pop musicians have often lacked any sustained development. Many groups in search of a distinctive identity experimented with the more exotic possibilities of synthesizers and associated devices during the early stages of their career, only to return to more traditional sound repertoires in later years. The chapter also considers the Techno movement, which has forged the greatest practical links with the core activities of electronic and computer music.
Keywords: electronic music, rock music, pop music, sound synthesizers, Techno movement
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .
- Title Pages
- Dedication
- Preface
- Illustrations
- About the Companion Web Site
- 1 The Background to 1945
- 2 Paris and <i>Musique Concrète</i>
- 3 Cologne and <i>Elektronische Musik</i>
- 4 Milan and Elsewhere in Europe
- 5 America
- 6 The Voltage‐Controlled Synthesizer
- 7 Works for Tape
- 8 Live Electronic Music
- 9 Rock and Pop Electronic Music
- 10 The Foundations of Computer Music
- 11 From Computer Technology to Musical Creativity
- 12 The Microprocessor Revolution
- 13 The Characteristics of Digital Audio
- 14 The Development of the MIDI Communications Protocol
- 15 From Analog to Digital: The Evolution of MIDI Hardware
- 16 From Microcomputer to Music Computer: The MIDI Perspective
- 17 Further Advances in Hardware Design
- 18 The Changing Fortunes of the MIDI Manufacturing Sector
- 19 From Minicomputer to Advanced Computer Workstation
- 20 The Personal Computer
- 21 The Digital Audio Workstation
- 22 Laptop Music and Related Activities
- 23 Synthesis, Signal Processing, and Spatialization
- 24 Performance Controllers, Evolution and Change
- 25 The Internet
- 26 Conclusion
- Bibliography
- Index