Electronic Inspirations

Jennifer Iverson is a scholar of twentieth-century music, with a special emphasis on electronic music, avant-gardism, and disability studies. Jennifer's work crosses freely between music theory, musicology, sound studies, and cultural history, drawing together analysis, archival research, and intellectual discourse. Her articles appear in journals such as Music Theory Spectrum, Journal of the American Musicological Society, twentieth-century music, and Music Theory Online. In 2015-16 she was a faculty fellow at the Stanford Humanities Center and now teaches at the University of Chicago.

• AcknowledgementsIntroduction Chapter 1. Origins: Creating a Laboratory Chapter 2. Kinship: Cage, Tudor, and the Timbral UtopiaChapter 3. Collaboration: The Science and Culture of Additive SynthesisChapter 4. Reclaiming Technology: From Information Theory to Statistical FormChapter 5: Controversy: The Aleatory Debates beyond DarmstadtChapter 6: Techno-Synthesis: From Vocoder Speech to Electronic MusicEpilogue Glossary of ActorsEndnotesBibliographyIndex

Electronic Inspirations offers a number of interesting and worthwhile insights into the avant-garde electronic music of the 1950s, both in terms of historical detail and theoretical interpretation, synthesizing a great deal of published and unpublished material.