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Other books have been written on electronic music, but none with the breadth and accessibility offered by Modulations, the tie-in volume to the critically acclaimed 1998 film directed by Iara Lee. Going beyond the limits of an encyclopedia or a record guide, essays by musicians and music journalists illuminate such genres as techno, house, krautrock, disco, hip-hop, drum'n Other books have been written on electronic music, but none with the breadth and accessibility offered by Modulations, the tie-in volume to the critically acclaimed 1998 film directed by Iara Lee. Going beyond the limits of an encyclopedia or a record guide, essays by musicians and music journalists illuminate such genres as techno, house, krautrock, disco, hip-hop, drum'n'bass, ambient, and down-tempo in more expansive detail than was possible in the film. From the "art of noise" proposed by then Italian Futurists to the musique concrete experiments of Pierre Schaeffer and Pierre Henry, Modulations probes the conceptual origins of synthesized sound. Present day geographic trends and cross-fertilized styles are traced back to the experimental and groundbreaking work of diverse pioneers such as Iannis Xenakis, Kraftwerk, Giorgo Moroder, Robert Moog, and John Cage. The African-American roots of electronic music are also documented, from free-jazz fellow traveler Sun Ra to funk innovators Parliament/Funkadelic. Sections on fusion, dub, post-punk, breakbeats, latin freestyle, and Miami bass make this book an all-encompassing reference tool for devoted followers as well as an excellent introduction for curious newcomers.


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Other books have been written on electronic music, but none with the breadth and accessibility offered by Modulations, the tie-in volume to the critically acclaimed 1998 film directed by Iara Lee. Going beyond the limits of an encyclopedia or a record guide, essays by musicians and music journalists illuminate such genres as techno, house, krautrock, disco, hip-hop, drum'n Other books have been written on electronic music, but none with the breadth and accessibility offered by Modulations, the tie-in volume to the critically acclaimed 1998 film directed by Iara Lee. Going beyond the limits of an encyclopedia or a record guide, essays by musicians and music journalists illuminate such genres as techno, house, krautrock, disco, hip-hop, drum'n'bass, ambient, and down-tempo in more expansive detail than was possible in the film. From the "art of noise" proposed by then Italian Futurists to the musique concrete experiments of Pierre Schaeffer and Pierre Henry, Modulations probes the conceptual origins of synthesized sound. Present day geographic trends and cross-fertilized styles are traced back to the experimental and groundbreaking work of diverse pioneers such as Iannis Xenakis, Kraftwerk, Giorgo Moroder, Robert Moog, and John Cage. The African-American roots of electronic music are also documented, from free-jazz fellow traveler Sun Ra to funk innovators Parliament/Funkadelic. Sections on fusion, dub, post-punk, breakbeats, latin freestyle, and Miami bass make this book an all-encompassing reference tool for devoted followers as well as an excellent introduction for curious newcomers.

30 review for Modulations: A History of Electronic Music: Throbbing Words on Sound

  1. 5 out of 5

    Matteo Fumagalli

    Rispetto ad altri volumi del critico musicale, non si tratta di un testo unico ma di un insieme di articoli precedentemente pubblicati che hanno a che fare con il mondo della musica elettronica e le sue sfaccettature. Questo comporta che ci sianoripetizioni, che in alcuni casi ci siano riferimenti a "dischi appena usciti" che in verità sono stati pubblicati negli anni '90 e che non tutti gli artisti di riferimento vengano presi in considerazione. Reynolds inoltre dedica gran parte della sua atte Rispetto ad altri volumi del critico musicale, non si tratta di un testo unico ma di un insieme di articoli precedentemente pubblicati che hanno a che fare con il mondo della musica elettronica e le sue sfaccettature. Questo comporta che ci sianoripetizioni, che in alcuni casi ci siano riferimenti a "dischi appena usciti" che in verità sono stati pubblicati negli anni '90 e che non tutti gli artisti di riferimento vengano presi in considerazione. Reynolds inoltre dedica gran parte della sua attenzione sulla cultura rave, come era già avvenuto nel suo "Energy Flash", tralasciando o semplicemente citando altri sottogeneri musicali quali trip hop, glitch etc. Si tratta comunque, come al solito, di una lettura estremamente appassionante (sempre bello leggere dell'influenza che ha avuto "I Feel Love" di Donna Summer come canzone-simbolo del futuro o di come l'autotune nella musica trap sia usato con specifiche intenzioni) e le oltre 500 pagine che la compongono volano via in un battibaleno.

  2. 5 out of 5

    Stefano Solventi

    Il solito Reynolds? Sì. Brillante. Enciclopedico. E pure un bel po' retromaniaco, malgrado il titolo di questo nuovo saggio-zibaldone. https://sentireascoltare.com/recensio... Il solito Reynolds? Sì. Brillante. Enciclopedico. E pure un bel po' retromaniaco, malgrado il titolo di questo nuovo saggio-zibaldone. https://sentireascoltare.com/recensio...

  3. 5 out of 5

    Yassine Kawana

    je dois le relire encore une fois un livre très passionnant

  4. 4 out of 5

    Keith Seekwhence

    Intended as an accompaniment to the film. Highly indepth in exploring the various and early genres in electronic music. Takes a thorough approach to production and over all importance of underground electronic music in a post rave, global community. Ponders on the importance of various forms and how they have or have not achieved heights and distances that were unintended by the original producers and champions of sound. I find the book to offer more robust content than the film in addition to a Intended as an accompaniment to the film. Highly indepth in exploring the various and early genres in electronic music. Takes a thorough approach to production and over all importance of underground electronic music in a post rave, global community. Ponders on the importance of various forms and how they have or have not achieved heights and distances that were unintended by the original producers and champions of sound. I find the book to offer more robust content than the film in addition to a dozen more genres. It is interesting to note that there is no mention of trance even in its pre-breakbeat, post acid house, ambient era.

  5. 5 out of 5

    Anne

    Perhaps a bit dated now, but since I was looking for background and development its age didn't bother me too much. Also, I wasn't interested in scholarly slog through the history of electronic music so even though some chapters were more informative than others, the fairly casual writing was just perfect. Overall it was informative and engaging. I definitely enjoyed the style and layout of the book even if it desperately needs additional editing. It just has a fun feel. And as a librarian, I love Perhaps a bit dated now, but since I was looking for background and development its age didn't bother me too much. Also, I wasn't interested in scholarly slog through the history of electronic music so even though some chapters were more informative than others, the fairly casual writing was just perfect. Overall it was informative and engaging. I definitely enjoyed the style and layout of the book even if it desperately needs additional editing. It just has a fun feel. And as a librarian, I loved the extensive indexing, timelines, play lists, etc. all of which make it incredibly easy to flip through and extract information. Yay!

  6. 5 out of 5

    Michiel

    A very comprehensive and nearly complete overview of electronic music in the 20th century. Neary, because the history of electronic music is never complete, and the writers of this book will be the first to admit this. Also, the book mainly focusses on electronic dance music (ie. house, drum 'n' bass etc.) and less on 'serious' electronic music (ie. Cage, Stockhausen, Reich etc.). I got more enthousiastic about something I was already enthousiastic about. Highly recommended for anyone who had a p A very comprehensive and nearly complete overview of electronic music in the 20th century. Neary, because the history of electronic music is never complete, and the writers of this book will be the first to admit this. Also, the book mainly focusses on electronic dance music (ie. house, drum 'n' bass etc.) and less on 'serious' electronic music (ie. Cage, Stockhausen, Reich etc.). I got more enthousiastic about something I was already enthousiastic about. Highly recommended for anyone who had a passion for music in general.

  7. 5 out of 5

    Lsmith

    "...the supposedly dehumanizing machine might actually make actually make us more human." Genesis P-Orridge interiew "There lies the problem of punk to me - they wanted to learn to play music. To learn to play music based on rhythm and blues to become a slave of the system once more, so if you're going to play slave music, let it be about post-industrial slave society, where people worked in factories and mills. No one had really done that. No one had actually decided to make music rooted in the "...the supposedly dehumanizing machine might actually make actually make us more human." Genesis P-Orridge interiew "There lies the problem of punk to me - they wanted to learn to play music. To learn to play music based on rhythm and blues to become a slave of the system once more, so if you're going to play slave music, let it be about post-industrial slave society, where people worked in factories and mills. No one had really done that. No one had actually decided to make music rooted in the experience of western European and industrial society, so that's what we did."

  8. 4 out of 5

    Jaina

    Reminds me of good days. An interesting though not comprehensive look at electronic music.

  9. 4 out of 5

    Evey

    Not bad, but not terribly engaging either.

  10. 4 out of 5

    Eric Orchard

    I'm actually reading the English version... I'm actually reading the English version...

  11. 4 out of 5

    Joshua Baines

  12. 4 out of 5

    João

  13. 5 out of 5

    Olivia treloar

  14. 4 out of 5

    Marcus

  15. 4 out of 5

    Michele Bruttomesso

  16. 5 out of 5

    Ruben Aguirre Barba

  17. 4 out of 5

    Oriane

  18. 4 out of 5

    Seraphina

  19. 4 out of 5

    Alejo

  20. 4 out of 5

    Vic Dillahay

  21. 4 out of 5

    Finbar

  22. 5 out of 5

    Leong Wai San

  23. 5 out of 5

    Annie Szafranski

  24. 4 out of 5

    Marco Andreoletti

  25. 5 out of 5

    Alex Carr

  26. 4 out of 5

    Tom Hallin

  27. 5 out of 5

    christopher

  28. 5 out of 5

    Jeff Chang

  29. 5 out of 5

    Mark Stiles

  30. 4 out of 5

    Marcello Lovagnini

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