Routledge Handbook to Rethinking the History of Technology-Based Music

Jøran Rudi was educated at New York University and pioneered the digital development of music in Norway as composer, studio director (NOTAM 1993–2019), technologist and historian. He is currently the Leverhulme Professor at the University of Huddersfield.Monty Adkins is a composer and professor of electronic music at the University of Huddersfield. He has worked extensively on the tape archive of Roberto Gerhard and has published four edited collections on the composer’s work. He is currently leading an Arts and Humanities Research Council research project investigating the electronic music of Ernest Berk.

• Preface. JØRAN RUDI, MONTY ADKINS Introduction: Re-Framing and Re-Thinking. JØRAN RUDI, MONTY ADKINSPart 1: Technology Adoption and New Practices 1. The Irrational Roots of Electronic Music. SIMON CRAB 2. Tracing Music Technology to its Interdisciplinary Roots. JOSEPH HYDE 3. Ernest Berk: Piraparana. MONTY ADKINS, SAM GILLES, IAN HELLIWELL 4. Antinomies of Net/Satellite Communication: Strategies of Musical Interaction. ARILD OVE BOMAN 5. Continuities and discontinuities in thought, infrastructure and organisation in UK 'electroacoustic' music since 1975: observations, entanglements and reasons for optimism. SIMON WATERS 6. Networked Performance as a Space for Collective Creation and Student Engagement. HANS KRETZ 7. The memory of a Ping – Environmental Sonification as a Transversal Practice. ÅSA STJERNAPart 2: Participation and Agency 8. The expanding Fields and Practices of Technology-based Music. ULF A. S. HOLBROOK, JØRAN RUDI 9. Dynamic Sound Design as (co-)compositional method in creative music. MATTHEW WRIGHT 10. A Closer Listening. LOUISE GRAY 11. Technology as Noise. PAUL HEGARTY 12. The Noise Selector. AMIT DINESH PATEL 13. Expanding the scope: Presence, Visibility and Interpretation. CATHY LANE 14. Following female users: A Feminist Historiography of the Fairlight CMI. MANUELLA BLACKBURN, PAUL HARKINS 15. Sonic Alterities: Reimagining Histories and Technologies in Sound Art. LINDA O KEEFFE 16. Japanese Sound Performance as Conceptual Representation. MIKAKO MISUNO 17. Whose post-acousmatic colonial future? The South African post-acousmatic. CAMERON HARRIS 18. Technologies of Capture and the Global Souths. BUDHADITYA CHATTOPADHYAYPart 3: Instruments and Software 19. Electricity, People and Cultures. Another piece of history of the Theremin musical artifact. JOHANN MERRICH 20. Issues of Ubimus Archaeology: Feedback Amplitude Modulation. NEMANJA RADIVOJEVIĆ, DAMIAN KELLER, VICTOR LAZZARINI 21. Upsetting the Controls: Considering Controllerist Practice in Computer Music Performance. MANOLI MORIATY 22. Max – Expansion from a Programming Paradigm to a Distributed Lab. JAEHOON CHOI 23. Where did all this come from? Tracing Electronic Music's U.N.I.T.Y. through Electroacoustic and Hip Hop Production. MARGARET SCHEDEL, WENDEL PATRICK 24. Turntablism. MARIAM REZAEI

An incredibly comprehensive and much-needed addition to the conversation surrounding music technology, this volume is a profound and fascinating reframing of electronic and experimental music history through the lens of composers, performers, practices, concepts, instruments, and communities that have been completely ignored or otherwise severely overlooked in the traditional academic discourse. I highly recommend this for anyone who listens outside of the norm.- Sarah Davachi, musicologist, composer and performer of technology-based music.Histories calcify. This applies to experimental art forms and new technologies as much as it does to more conservative fields. Every so often ideas have to be refreshed, revised, returned to a state of fluidity. This well-curated book is one of those agents of change, dealing as it does with legacies of techno-mysticism, noise as disruption, ethnomusicological field recording, prototypes of net communication, technology as politics and overlooked figures whose significance has only recently been recognised. To apply a Pauline Oliveros maxim to the entire volume, the question is not 'what am I hearing' but 'how am I listening'?- David Toop, musician, author, Emeritus professor, London College of Communication