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Virtual Music : How the Web Got Wired for Sound - William Duckworth

Virtual Music

How the Web Got Wired for Sound

Paperback

Published: 30th June 2005
Ships: 7 to 10 business days
7 to 10 business days
RRP $86.00
$58.75
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OFF

Must-reading for all interested in the world of web-based music Highlights diverse artists from John Cage to Moby to Scanner Includes unique CD sampler highlighting the composers and works discussed in the book Virtual Music: How the Web Got Wiredfor Soundis a personal story of how one composer has created new music on the web, a history of interactive music, and a guide for aspiring musicians who want to harness the new creative opportunities offered by web composing. ForBill Duckworth, the journey began in 1996 when he developed the idea for an interactive webcast, named "Cathedral," which was developed over a period of 5 years. On its completion, "Cathedral" won numerous awards, including the ASCAP/Deems Taylor Award for composition, and has already inspired further experimentation. But this is more than the story of one composer or one piece of music. The book traces the development of interactive music through the 20th centuryfrom Erik Satie through John Cage, Brian Eno, Moby, and Scanner. The technology itself is described as it has inspired experimentation by artists, including composers who have developed new ways to involve the audience in their music, plus possibilities for the non-musically trained to "play the Web." Challenges facing the web composer-from copyright issues to commercialization-are analyzed with new solutions suggested. Virtual Musicis a fascinating story that will appeal to fans of new music, creators, performers, and anyone interested in how technology is transforming the arts. Also includes a 4-page color insert.

"Speaking of the web, if you are curious about the history of web-based music, I'd recommend the freshly published, "Virtual Music: How the Web Got Wired for Sound. . . the book traces the development of interactive music through the 20th century from Erik Satie through John Cage, Brian Eno, Moby, and others. The technology itself is described as it has inspired experimentation by artists, including composers who have developed new ways to involve the audience in their music, plus possibilities for the non-musically trained to 'play the Web'."
-Scanner, on his webblog
"An electronic composer himself, Duckworth begins with the history of "interactive music," including artists such as John Cage and Erik Satie, and rockets into the future with pioneers such as Brian Eno and Moby, exploring the many ways the Internet has changed the mode of distribution for artists, as well as the unique opportunities it presents for a sort of virtual studio and a creative tool unlike any other in the history of recorded sound."
-Jim Derogatis, Chicago Sun Times
"An intriguing survey of the science and musics of sound in a new environment
."
-Bookwatch

Introduction: Making Music in Thin Air
A Brief History of Interactive Music Erik Satie and the Art of Boredom The Aesthetic of Boredom Furniture Music (1920)
Relache (1924)
John Cage and the Charms of Chance
The Happening (July 1952) 4'33" (August 1952)
Composition as Process Brian Eno and the Landscaping of Sound Ambient Music Generative Music John Oswald and Plunderphonics Moby and the Concept of Play
Unsilent Night : A Case Study in Motion
The Boom Box Orchestra
A Living Sound Sculpture Sonic Plasticity
The Brain Opera : A Case Study in Space
The Mind Forest
The Brain Opera Performance Net Music The House of Music Interactive Space
Music on the web in the Twentieth Century
The League of Automatic Music Composers (1977)
The Hub (1986)
NetJam (1990)
Rocket Network (1994)
Beatnik (1993)
MusicWorld (1997)
Internet Underground Music Archives (1993)
Cinema Volta (1994)
WebDrum (1997)
Cathedral : A Case Study in Time
The Web Site
The Virtual Instruments
The Cathedral Band
The 48-Hour Webcast of 2001 Internet Time
Cell Phones and Satellites
Radio Net Dialtones (A Telesymphony)
Sound Maps of Krakow Scanner
The Mob Scene
The Next Big Thing
Art and Ethics Online Web Sound Latency Copyright and File Sharing Open Source Copy Left
The Grey Album : A Case Study in Critical Mass Black, White, and Grey Grey Tuesday Critical Mass in Cyberspace
Virtual music
The New Landscape
Availability
Portability
Collectivity
Communication
Notes
Bibliography
The Sound of the Web at the Turn of the Century
Index
Table of Contents provided by Publisher. All Rights Reserved.

ISBN: 9780415966757
ISBN-10: 0415966752
Audience: Tertiary; University or College
Format: Paperback
Language: English
Number Of Pages: 232
Published: 30th June 2005
Publisher: Taylor & Francis Ltd
Country of Publication: GB
Dimensions (cm): 22.23 x 14.61  x 1.91
Weight (kg): 0.34
Edition Number: 1