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The sound palette of electronic music: a short historical essay

Submitted by on 28/09/2018 – 10:00

Elena Stepanova

Abstract: The article reviews the main achievements in the field of musical technology that formed the sound palette of popular music in the second half of the XX century. The influence of electronic musical instruments, synthesizers, audio editing and processing techniques on establishing the electronic music as a popular genre (late 1960s-1970s).

Key words: electronic music, pop culture, genres of popular music, electronic musical instruments, synthesizers.

Prepared for publication in the collected papers of the XVI international scientific and practical conference “Cultural Studies, Art History and Philology: Contemporary Views and Scientific Research”.

The phenomenon of electronic music as an area of ​​creativity that is completely based on the use of technical devices (electronic musical instruments, synthesizers, samplers, computers, various sound processing devices) deserves the closest attention. The new sound instrumentation provided to composers in the second half of the 20th century was the result of rapid progress in the development and production of electronic musical instruments. The richness of new timbres, the modern sound palette allowed them to compose and perform music, without limiting themselves henceforth in the choice of expressive means.

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References (translated and transliterated):

1. Denisov E.V. Sovremennaya muzyka i problemy evolyutsii kompozitorskoy tekhniki [Modern music and problems of the evolution of composer techniques]. — M., 1986. — 207 s.
2. Smirnov A.I. Istoriya i estetika elektroakusticheskoy muzyki: Kurs lektsiy. [History and aesthetics of electroacoustic music: a series of lectures] // Termen-tsentr : website. — M., 1995. — URL: http://asmir.info/lib/index.htm (1.9.2018).
3. Stepanova E.B. Bob Moog: Chelovek, kotoryy izmenil muzyku [Bob Moog: The man who changed the music] // In/Out — tekhnika v shou-biznese. — 2005, № 3 (52) ; [Electronic source]. — URL: http://www.1000tracks.ru/bob-moog/ (15.9.2018).
4. Suslova L.V. Opyt issledovaniya elektronnoy muzyki: Na prim. tvorchestva E. Artemeva: Avtoref. dis. kand. iskusstvovedeniya [A case study in electronic music: Edward Artemiev’s works: Author’s abstract. dis. PhD in Art History]. — M., 1994. — 25 s. ; Id. [Electronic source]. — URL: http://cheloveknauka.com/opyt-issledovaniya-elektronnoy-muzyki (1.9.2018).
5. Flint T. Jean-Michel Jarre: 30 years of Oxygene // Sound On Sound. — 2008, № 2; Id. [Electronic source]. — URL: https://www.soundonsound.com/people/jean-michel-jarre (15.9.2018).
6. Pinch T., Trocco F. Analog Days: The Invention and Impact of the Moog Synthesizer. — Harvard University Press, 2002. — 384 p.
7. Reid G. The Rebirth Of Keith Emerson’s Moog Modular // Sound On Sound. — 2014, № 7 ; Id. [Electronic source]. — URL: https://www.soundonsound.com/people/rebirth-keith-emersons-moog-modular (15.9.2018).

Announcement of the article on the publisher’s website: https://www.internauka.org/conf/philology/xvi#articles

Planned publication date: 23.10.2018

After publication, the article will be available in pdf format.

© Elena Stepanova, 2018

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Елена Степанова — звукорежиссер, музыкант, автор статей и учебных материалов по звукорежиссуре, музыкальной аранжировке и композиции, истории музыкальных технологий.

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Author profile [English]

Elena Stepanova is a sound producer, musician, author of articles on sound engineering, musical arrangement and composition, history of musical technology.

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