From music to sound : the emergence of sound in 20th- and 21st-century music / Makis Solomos.
Material type:
TextSeries: Routledge research in musicPublisher: London : Routledge, 2019Description: 336 pages : illustrations (black and white), music ; 24 cmContent type: text | still image | notated music Media type: unmediated Carrier type: volumeISBN: 9780367192136 (hbk.) :Subject(s): Music -- 20th century -- Philosophy and aesthetics | Music -- 21st century -- Philosophy and aesthetics | Sound (Philosophy) | Noise (Philosophy) | Listening (Philosophy) | Tone color (Music) | Music | MusicDDC classification: 781.2'3 Summary: An examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre, which became a central category for musical composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space, which is progressively viewed as composable.
| Item type | Current library | Home library | Shelving location | Class number | Status | Date due | Barcode | Item reservations | |
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Paul Hamlyn Library | Paul Hamlyn Library | Floor 3 | 781.23 SOL (Browse shelf(Opens below)) | Issued | 18/11/2024 | 06775500 |
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Includes bibliographical references and index.
An examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music and showing how music had begun a change of paradigm, moving from a culture centred on the note to a culture of sound. Each chapter follows a chronological progression and is illustrated with numerous musical examples. The chapters are composed of six parallel histories: timbre, which became a central category for musical composition; noise and the exploration of its musical potential; listening, the awareness of which opens to the generality of sound; deeper and deeper immersion in sound; the substitution of composing the sound for composing with sounds; and space, which is progressively viewed as composable.
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