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Electronic and Computer Music
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Table of Contents

List of IllustrationsPrefaceAbout the Companion Website1 The Background, to 1945I. Developments from 1945 to 19602 Paris and Musique Concrete3 Cologne and Electronische Musik4 Milan and Elsewhere in Europe5 AmericaII. New Horizons in Electronic Design6 The Voltage-Controlled SynthesizerIII. The Electronic Repertory from 19607 Works for Tape8 Live Electronic Music9 Rock and Pop Electronic MusicIV. The Digital Revolution to 198010 The Foundations of Computer Music11 From Computer Technology to Musical Creativity12 The Microprocessor RevolutionV. Digital Audio13 The Characteristics of Digital AudioVI. MIDI14 The Development of the MIDI Communications ProtocolFrom Analog to Digital: The Evolution of MIDI Hardware16 From Microcomputer to Music Computer: The MIDI Perspective17 Further Advances in Hardware Design18 The Changing Fortunes of the MIDI Manufacturing SectorVII. Desktop Synthesis and Signal Processing19 From Minicomputer to Advanced Computer Workstation20 The Personal Computer21 The Digital Audio Workstation22 Laptop Music and Related Activities23 Synthesis, Signal Processing, and Spatialization24 Performance Controllers: Evolution and ChangeVIII. Global Networking25 The Internet26 ConclusionNotesBibliographyIndex

About the Author

Peter Manning is director of the Electronic Music Studio at The University of Durham, UK, a position he has held since 1980. In addition to writing books and articles on the history and development of the medium he has directed several research programs into computer music and composed a number of electroacoustic works that have been widely performed in Europe, the Far East, and America.

Reviews

Manning ... presents an in-depth history of electronic and computer music by tracing the technological developments that gave birth to it and governed its evolution ... he provides a remarkable breadth of scientifically oriented information for advanced students and practitioners in the field who need to understand how the current technological landscape came about. This new edition, along with the earlier editions, belongs in academic music research libraries as well as relevant science collections. * D. Arnold, Choice *

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