dc.contributor.author | Coleman, Beth | |
dc.coverage.temporal | Spring 2006 | |
dc.date.accessioned | 2022-08-11T19:17:52Z | |
dc.date.available | 2022-08-11T19:17:52Z | |
dc.date.issued | 2006-06 | |
dc.identifier | CMS.876-Spring2006 | |
dc.identifier.other | CMS.876 | |
dc.identifier.other | IMSCP-MD5-e133751aa249554a2de8839be86b97a4 | |
dc.identifier.uri | https://hdl.handle.net/1721.1/144323 | |
dc.description.abstract | This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Björk, and others. | en |
dc.language.iso | en-US | |
dc.rights | This site (c) Massachusetts Institute of Technology 2022. Content within individual courses is (c) by the individual authors unless otherwise noted. The Massachusetts Institute of Technology is providing this Work (as defined below) under the terms of this Creative Commons public license ("CCPL" or "license") unless otherwise noted. The Work is protected by copyright and/or other applicable law. Any use of the work other than as authorized under this license is prohibited. By exercising any of the rights to the Work provided here, You (as defined below) accept and agree to be bound by the terms of this license. The Licensor, the Massachusetts Institute of Technology, grants You the rights contained here in consideration of Your acceptance of such terms and conditions. | en |
dc.rights | Attribution-NonCommercial-ShareAlike 3.0 Unported | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-sa/3.0/ | * |
dc.subject | popular culture | en |
dc.subject | contemporary music | en |
dc.subject | rock | en |
dc.subject | rap | en |
dc.subject | electronic music | en |
dc.subject | electronica | en |
dc.subject | sampling | en |
dc.subject | noise | en |
dc.subject | audio | en |
dc.subject | avant-garde | en |
dc.subject | music criticism | en |
dc.subject | studio production | en |
dc.subject | sampling | en |
dc.subject | podcast | en |
dc.subject | mashup | en |
dc.subject | collage | en |
dc.subject | tape loop | en |
dc.subject | DJ | en |
dc.subject | synthesizer | en |
dc.subject | music synthesis | en |
dc.subject | drum machine | en |
dc.subject | music concrete | en |
dc.title | CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years, Spring 2006 | en |
dc.title.alternative | History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years | en |
dc.audience.educationlevel | Graduate | |
dc.subject.cip | 090102 | en |
dc.subject.cip | Mass Communication/Media Studies | en |
dc.date.updated | 2022-08-11T19:17:58Z | |