Dancing to the Drum Machine is a never-before-attempted history of what is perhaps the most controversial musical instrument ever invented: the drum machine. Here, author Dan LeRoy reveals the untold story of how their mechanical pulse became the new heartbeat of popular music. The pristine snap of the LinnDrum. The bottom-heavy beats of the Roland 808. The groundbreaking samples of the E-MUSP-1200. All these machines-and their weirder, wilder-sounding cousins-changed composition, recording, and performance habits forever. Their distinctive sounds and styles helped create new genres of music, like hip hop and EDM. But they altered every musical style, from mainstream pop to heavy metal to jazz. Dan LeRoy traces the drum machine from its low-tech beginnings in the Fifties and Sixties to its evolution in the Seventies and its ubiquity in the Eighties, when seemingly overnight, it infiltrated every genre of music. Drum machines put some drummers out of work, while keeping others on their toes. They anticipated virtually every musical trend of the last five decades: sequencing, looping, sampling, and all forms of digital music creation. But the personalities beneath those perfect beats make the story of drum machines a surprisingly human one-told here for the very first time.

Featuring 56 lessons by 49 music technology experts from around the world, The Music Technology Cookbook is an all-in-one guide to the world of music technology, covering topics like: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audio books, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, Sonic Pi, P5.js); and, designing instruments (MaKey MaKey). Each lesson tailored for easy use and provides a short description of the activity, keywords, materials needed, teaching context of the contributing author, time required, detailed instructions, modifications for learners, learning outcomes, assessment considerations, and recommendations for further reading. Music educators will appreciate the book's organization into five sections-Beatmaking and Performance; Composition; Multimedia and Interdisciplinary; Production; Programming-which are further organized by levels beginner, intermediate, and advanced. Written for all educational contexts from community organizations and online platforms to universities and colleges, The Music Technology Cookbook offers a recipe for success at any level.

(Book). Here's your complete guide to using MIDI synthesizers, samplers, soundcards, sequencers, computers and more The MIDI Companion shows how a MIDI system or systems for a wide range of situations can be assembled quickly, easily and trouble-free. Describes how to synchronize MIDI sequencers, drum machines, multitrack equipment, SMPTE-based equipment, and other MIDI instruments. Describes each and every MIDI code and the techniques used in transmitting these codes between various MIDI devices. Explains how to get the most out of any musical situation that calls for the use of synthesizers and electronic musical instruments. This totally new edition includes more information on the actual applications and musical uses for MIDI. A complete chapter devoted to General MIDI, plus the charts for GM sounds. Two additional new chapters on The MIDI Studio and MIDI And The Personal Computer. New diagrams, updated diagrams, new graphics. Profusely illustrated with pictures, photographs and diagrams, and also includes a detailed glossary.

Inside Computer Music is an investigation of how new technological developments have influenced the creative possibilities of composers of computer music in the last 50 years. This book combines detailed research into the development of computer music techniques with nine case studies that analyze key works in the musical and technical development of computer music. The book's companion website offers demonstration videos of the techniques used and downloadable software. There, readers can view interviews and test emulations of the software used by the composers for themselves. The software also presents musical analyses of each of the nine case studies to enable readers to engage with the musical structure aurally and interactively.

Tristram Cary's remarkable encyclopedia is the first comprehensive book on the technology of music. Its 600 copiously illustrated main entries and 200 subsidiary ones cover an immense musical field. Included are entries on traditional and electronic instruments, and on such topics as computer music composition, microphone placement, and psychoacoustics. They are carefully cross-referenced so that readers can approach a topic from different angles and then be drawn into its complexities, both technical and musical, as far as they wish.

This volume will be an essential reference work for music and audio professionals, students, and all music lovers wanting to know more about the techniques behind the music.

Creating Sounds from Scratch is a practical, in-depth resource on the most common forms of music synthesis. It includes historical context, an overview of concepts in sound and hearing, and practical training examples to help sound designers and electronic music producers to effectively manipulate presets and create new sounds from scratch. The book covers the all of the main main synthesis techniques including analog subtractive, FM, additive, physical modeling, wavetable, sample-based, and granular. While the book is grounded in theory, it relies on practical examples and contemporary production techniques to illustrate how the reader can utilize electronic sound design to maximize and improve his/her work. Creating Sounds from Scratch is ideal for all who work in sound creation, composition, editing, and contemporary commercial production.

Vladimir Ussachevsky (1911-1990), a pioneer in electronic music, was also a composer, teacher and administrator of the Columbia-Princeton Electronic Music Center. His more than 44 works involving electroacoustics reflect the importance of his contribution to electronic music. Ussachevsky studied with Howard Hanson, Bernard Rogers and Otto Luening and his style varied from neoromantic and Russian Orthodox influences in choral music and other compositions before 1952 to electronic and computer music from 1952 to his death in 1990. This volume in the Greenwood series Bio-Bibliographies in Music includes a brief biography and detailed list of works and performances, discography, mediagraphy, and bibliography of writings about and by Ussachevsky.

Music scholars, especially those with an interest in electronic music or those interested in learning more about Vladimir Ussachevsky, will appreciate the detailed information about his works and writings compiled in this one volume. The works and performances section is organized by type of music, including electronic, orchestral, chamber, keyboard, choral and vocal. Also included are both an alphabetical and chronological list of compositions, a list of Ussachevsky's collaborations, arrangements and sound effects, and an index.

Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live introduced design affordances that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives.

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is the body expressed in electronic music then? The authors of this book reveal composers, performers, improvisers and listeners bodies, as well as the works and technologies figurative bodies as a rich source of expressive articulation. Bringing together humanities scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body 's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves.

Electroacoustic music, a flourishing medium for over half a century, remains today, in a wide array of technological forms, one of the major areas of creative activity in music. However, it has long been overlooked in theoretical studies--possibly in part because it does away with traditional scores and notation. In this landmark collection, a group of distinguished composers and theorists who have actively worked in the field present detailed analyses of important electroacoustic works while also demonstrating some recent approaches to the analysis of the music of this medium. Included here are discussions of such significant works as Karlheinz Stockhausen's "Gesang der Junglinge "(1955/56), Iannis Xenakis' "Diamorphoses" (1957), and Jean-Claude Risset's "Contours" (1982). Overall, the collection aims to elucidate the sonic design of each of the electroacoustic music works under investigation, using its best examples as a lens through which to examine an unduly neglected genre.

Demonstrating recent techniques in the analysis of electroacoustic music, the volume also considers various compositional approaches as well as computer applications that have become an irreplaceable tool in the composing of this music. So little has been written about this 20th-century art form that Electroacoustic Music: Analytical Perspectives is at once a fresh, bold step forward in musicology and analysis.

The soundtrack to Nintendo's New Super Mario Bros.(tm) Wii is packed with melodic, syncopated themes that sound great on the piano With this officially licensed sheet music collection, pianists can dazzle friends and family by playing 17 familiar themes from the beloved video game. The arrangements in this Easy Piano edition are moderately streamlined compared to those in the separately published Intermediate-Advanced edition, yet they retain a full and impressive sound. Titles: Title Theme * Ground Theme * Underground Theme * Underwater Theme * Desert Theme * Castle Theme * Airship Theme * Koopa Battle * Castle Boss Battle * Toad House * Enemy Course * Invincible Theme * Staff Credit Roll * World 1 Map * Player Down * Game Over * Ending Demo.

Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities. This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice. Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.

Over the last century, developments in electronic music and art have enabled new possibilities for creating audio and audio-visual artworks. With this new potential has come the possibility for representing subjective internal conscious states, such as the experience of hallucinations, using digital technology. Combined with immersive technologies such as virtual reality goggles and high-quality loudspeakers, the potential for accurate simulations of conscious encounters such as Altered States of Consciousness (ASCs) is rapidly advancing. In Inner Sound, author Jonathan Weinel traverses the creative influence of ASCs, from Amazonian chicha festivals to the synaesthetic assaults of neon raves; and from an immersive outdoor electroacoustic performance on an Athenian hilltop to a mushroom trip on a tropical island in virtual reality. Beginning with a discussion of consciousness, the book explores how our subjective realities may change during states of dream, psychedelic experience, meditation, and trance. Taking a broad view across a wide range of genres, Inner Sound draws connections between shamanic art and music, and the modern technoshamanism of psychedelic rock, electronic dance music, and electroacoustic music. Going beyond the sonic into the visual, the book also examines the role of altered states in film, visual music, VJ performances, interactive video games, and virtual reality applications. Through the analysis of these examples, Weinel uncovers common mechanisms, and ultimately proposes a conceptual model for Altered States of Consciousness Simulations (ASCSs). This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also examined, ultimately allowing the reader not only to consider the design of ASCSs, but also the implications of their use for digital society.

(Book). This is the most comprehensive and insightful study ever published on the pioneers of electric blues guitar including the great Chicago, Mississippi Delta, Louisiana, Texas and West Coast bluesmen. Rollin' and Tumblin' offers extensive interviews with some of the world's most famous blues guitarists, and poignant profiles of historical blues figures. Following a sweeping portrait of blues guitar history, the book features such players as T-Bone Walker, Muddy Waters, John Lee Hooker, Lightnin' Hopkins and many more.

A thrilling and tumultuous, behind-the-scenes account of house music in NYC. The Beat, the Scene, the Sound follows DJ Disciple and his behind-the-scenes account of how DJs, promoters, fans, and others transformed house music from a DIY project into an international sensation-dive into the glitzy clubs, underground parties, and the diverse communities who made up the scene amidst the tumult of 1980s/90s-era NYC-between the fall of disco and the rise of EDM. The book unearths many untold stories of the era. When house first rose to prominence in the 1980s, it brought people together-Palladium, Paradise Garage, Tunnel, Zanzibar, Studio 54, and other clubs were going strong. But as DJ Disciple established himself in the scene, he witnessed it shatter. During the crack-cocaine epidemic, he literally dodged bullets bringing his records to and from clubs at night. HIV/AIDS and homophobia threw up fear-based partitions. Then, mayors worked to close the clubs. House music was pushed underground and then abroad to the UK and Europe. Disciple and many other DJs sought to regain a footing in the United States, but that only became possible with the rise of commercialized EDM. With dozens of interviews and historic photographs, The Beat, the Scene, the Sound shows what is possible when you bring people together and what can unravel when you split them apart.

Dance Music Spaces: Clubs, Clubbers, and DJs Navigating Authenticity, Branding, and Commercialism is about the production of social, cultural, physical, and digital spaces in dance music, spaces that share features of both rave authenticity and the commercialism of club culture. Using a concept she calls authenticity maneuvering to explain how clubs, clubbers, and DJs navigate authenticity, branding, and commercialism, Danielle Hidalgo argues that the strategic use of a rave ethos bolsters acceptance in dance music spaces while also making commercial practices less visible or problematic. She shows how the presence of both authenticity and commercialism enables and constrains three highly successful women DJs and their colleagues, requiring the ongoing performance of authenticity via branding. This book presents a compelling analysis of the complicated interplay between dancing bodies, digital practices, and spatial offerings in contemporary dance music.

Electronic Dance Music: From Deviant Subculture to Culture Industry explores the subculture's emergence as a deviant subculture. This text analyzes how industry professionals, fans, and public officials helped usher in a new age of EDM, arguing that while the defining features of the subculture made it attractive, they also laid the foundations for outsiders to commodify the movement as a culture industry. Conner and Dickens explore the concept of "commodified resistance" as the mechanism by which the movement's politically dissident features were removed and its place as a multi-billion-dollar industry made possible. Ultimately, this text advocates the continued utility of the culture industry thesis through an empirical analysis of the EDM subculture.

After decades of anticipation, Alfred is proud to release the officially licensed, collectible sheet music companion folios to The Legend of Zelda(tm) video game series. The 33 arrangements in this Easy Piano edition contain the instantly recognizable melodies beloved by generations of gamers around the globe. From Koji Kondo's iconic "The Legend of Zelda(tm) Main Theme" to The Legend of Zelda(tm): Spirit Tracks themes, the dozens of pieces in this book represent two and a half decades of Nintendo(R) video game favorites. Adding to the fun, graphics from the corresponding games grace each page of the sheet music. Impress friends, family, and audiences of all ages by playing from this magnificent collection, which makes a great gift for every pianist.
Titles: * The Legend of Zelda(tm) Title Theme * The Legend of Zelda(tm) Main Theme * Zelda II(tm) - The Adventure of Link(tm) Title Theme * Zelda II(tm) - The Adventure of Link(tm) Palace Music * The Legend of Zelda(tm): A Link to the Past(tm) Title Screen * The Legend of Zelda(tm): A Link to the Past(tm) Hyrule Castle Music * The Legend of Zelda(tm): A Link to the Past(tm) Main Theme * The Legend of Zelda(tm): A Link to the Past(tm) The Dark World * The Legend of Zelda(tm): Link's Awakening(tm) Main Theme * The Legend of Zelda(tm): Ocarina of Time(tm) Title Theme * The Legend of Zelda(tm): Ocarina of Time(tm) Princess Zelda's Theme * The Legend of Zelda(tm): Ocarina of Time(tm) Hyrule Field * The Legend of Zelda(tm): Ocarina of Time(tm) Lost Woods (Saria's Song) * The Legend of Zelda(tm): Ocarina of Time(tm) Gerudo Valley * The Legend of Zelda(tm): Ocarina of Time(tm) Song of Storms * The Legend of Zelda(tm): Majora's Mask(tm) Prelude of Majora's Mask * The Legend of Zelda(tm): Majora's Mask(tm)Termina Field * The Legend of Zelda(tm): The Wind Waker(tm) Main Theme * The Legend of Zelda(tm): The Wind Waker(tm) Dragon Roost Island * The Legend of Zelda(tm): The Wind Waker(tm) Ocean Theme * The Legend of Zelda(tm

Visual Perception of Music Notation: On-Line and Off Line Recognition addresses the computer recognition of music notation, its interpretation and use within various application contexts. It includes research in the field of image processing and pen-based computing, representation languages and web-based applications. This book consolidates the successes, challenges and questions raised by the computer perception of this music notation language.

This is the first book to develop both the theory and the practice of synthesizing musical sounds using computers. Each chapter starts with a theoretical description of one technique or problem area and ends with a series of working examples (over 100 in all), covering a wide range of applications. A unifying approach is taken throughout; chapter two, for example, treats both sampling and wavetable synthesis as special cases of one underlying technique. Although the theory is presented quantitatively, the mathematics used goes no further than trigonometry and complex numbers. The examples and supported software -- along with a machine-readable version of the text -- are available on the web and maintained by a large online community. The Theory and Techniques of Electronic Music is valuable both as a textbook and as professional reading for electronic musicians and computer music researchers.