Contemporary electronic music has splintered into a dizzying assortment of genres & subgenres, communities & subcultures. Given the ideological differences among academic, popular & avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety?
Contents; About the Companion Web Site; Introduction; Part I: Sign; 1 Listening to Signs in Post-Schaefferian Electroacoustic Music; 2 Material As Sign in Electronica; Part II: Object; 3 Minimal Objects in Microsound; 4 Maximal Objects in Drone Music, Dub Techno, and Noise; Part III: Situation; 5 Site in Ambient, Soundscape, and Field Recordings; 6 Genre, Experimentalism, and the Musical Frame; Conclusion; Glossary; A; B; C; D; E; F; G; H; I; M; N; O; P; R; S; T; W; Bibliography; Discography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y; Z
Description based upon print version of record. Includes bibliographical references and index. Description based on online resource; title from home page (viewed Sept. 7, 2010).