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dc.contributor.authorvan Eck, Cathy
dc.date.accessioned2021-05-07T03:30:19Z
dc.date.available2021-05-07T03:30:19Z
dc.date.issued2017
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/48517
dc.description.abstractAfter the sound reproduction industry had claimed “perfect high fidelity” for sound recordings already at the beginning of the twentieth century, composers and sound artists challenged this perfection by tweaking microphones and loudspeakers to make them act as a musical instrument instead of a mere sound reproduction device. This book explores the instrumental use of microphones and loudspeakers in music beginning in the 1950s. The popular noise musician Merzbow, over-minimalist classic Alvin Lucier, cult instrument inventor Hugh Davies, and contemporary visual artist Lynn Pook made audible what was supposed to remain silent.
dc.languageEnglish
dc.subject.classificationbic Book Industry Communication::A The arts::AV Music::AVA Theory of music & musicology
dc.subject.otherMusic
dc.subject.otherInstruction & Study
dc.subject.otherComposition
dc.titleBetween Air and Electricity
dc.title.alternativeMicrophones and Loudspeakers as Musical Instruments
dc.typebook
oapen.relation.isPublishedBy066d8288-86e4-4745-ad2c-4fa54a6b9b7b
oapen.relation.isFundedByb818ba9d-2dd9-4fd7-a364-7f305aef7ee9
oapen.collectionKnowledge Unlatched (KU)
oapen.imprintBloomsbury Academic
oapen.identifierhttps://openresearchlibrary.org/viewer/77f2f7a2-3f17-419b-b4df-eb460da9f292
oapen.identifier.isbn9781501327605


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