The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream

Mark Brend

ISBN 10: 082642452X / ISBN 13: 9780826424525

Published by Bloomsbury Academic, 2012

About this Item

2012. 0th Edition. Paperback. A fascinating history of the inventors, producers and technicians behind the early televisual and cinematic breakthroughs of electronic music, packed with original research and interviews. Num Pages: 256 pages, 15. BIC Classification: AVA; AVC; AVGP. Category: (G) General (US: Trade). Dimension: 215 x 140 x 17. Weight in Grams: 408. . . . . .

Seller Inventory # V9780826424525

Bibliographic Details

• Title: The Sound of Tomorrow: How Electronic Music Was Smuggled into the Mainstream
• Publisher: Bloomsbury Academic
• Publication Date: 2012
• Language: English
• ISBN 10: 082642452X
• ISBN 13: 9780826424525
• Binding: Soft cover
• Condition: New

About this title

Synopsis

London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and Tv. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by the early 1960s, all you had to do was watch commercial Tv for a few hours to hear the weird and wonderful sounds of the new world. The Sound of Tomorrow tells the compelling story of the sonic adventurers who first introduced electronic music to the masses. A network of composers, producers, technicians and inventors, they took emerging technology and with it made sound and music that was bracingly new.

About the Author

Mark Brend is an author and musician who lives in Exeter, Devon. His books include Strange Sounds andAmerican Troubadours, and his journalism has appeared in Record Collector, Mojo, Art & Music and many other publications.