Virtual Music: How the Web Got Wired for Sound is a personal story of how one composer has created new music on the web, a history of interactive music, and a guide for aspiring musicians who want to harness the new creative opportunities offered by web composing. Also includes a 4-page color insert.
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Book Description
Editorial Reviews
Review
Speaking of the web, if you are curious about the history of web-based music, I'd recommend the freshly published, Virtual Music: How the Web Got Wired for Sound. . . the book traces the development of interactive music through the 20th century from Erik Satie through John Cage, Brian Eno, Moby, and others. The technology itself is described as it has inspired experimentation by artists, including composers who have developed new ways to involve the audience in their music, plus possibilities for the non-musically trained to 'play the Web'.
–Scanner, on his webblog
An electronic composer himself, Duckworth begins with the history of interactive music, including artists such as John Cage and Erik Satie, and rockets into the future with pioneers such as Brian Eno and Moby, exploring the many ways the Internet has changed the mode of distribution for artists, as well as the unique opportunities it presents for a sort of virtual studio and a creative tool unlike any other in the history of recorded sound.
–Jim Derogatis, Chicago Sun Times
An intriguing survey of the science and musics of sound in a new environment
.
–Bookwatch
–Scanner, on his webblog
An electronic composer himself, Duckworth begins with the history of interactive music, including artists such as John Cage and Erik Satie, and rockets into the future with pioneers such as Brian Eno and Moby, exploring the many ways the Internet has changed the mode of distribution for artists, as well as the unique opportunities it presents for a sort of virtual studio and a creative tool unlike any other in the history of recorded sound.
–Jim Derogatis, Chicago Sun Times
An intriguing survey of the science and musics of sound in a new environment
.
–Bookwatch
About the Author
William Duckworth has composed over 100 works, including his Time Curve Preludes for solo piano, and the choral work, Southern Harmony. A professor of music at Bucknell University, he teaches both music history and composition. He lives in West New York, NJ, and Lewisburg, Pennsylvania.
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful:
5.0 out of 5 stars
An intriguing survey of the science and music's of sound in a new environment,
By Midwest Book Review (Oregon, WI USA) - See all my reviews
This review is from: Virtual Music: How the Web Got Wired for Sound (Paperback)
William Duckworth's Virtual Music could have been featured in our Computer Corner area but is reviewed here for its strong study of how music came to the Web as a blend of interactive sound bytes, and how it moved into cell phones and now iTunes. This history covers everything from file sharing and the creation of one of the first interactive works of music and art on the web by composer/musician Duckworth to the possibilities of nanotechnology and controversial new musics developing in the online world only. An intriguing survey of the science and music's of sound in a new environment.
3.0 out of 5 stars
A good, but thin, primer,
By
Amazon Verified Purchase(What's this?)
This review is from: Virtual Music: How the Web Got Wired for Sound (Paperback)
Virtual Music is a solid primer, an introduction really, to how music came to be put on the web as a discrete medium. He begins with a brief history of the development of the type of ideas needed to make the conceptual leap to technology, then describes how particular artists, including himself, made music that is specifically for the medium of the web. The accompanying CD has examples of all the music discussed.
What the book is not, however, is any kind of set of instructions for how to make music for the web. Duckworth is very specific in not touching on this topic - that's up to the musician. That's not a fault, but a focus. However, the book is rather thin, there is much more history to describe, and much more discussion about each topic. The writing is serviceable, nothing more. This is an important part of contemporary music history, and Virtual Music competently lays the foundation for filling that gap.
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Inside This Book
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First Sentence:
Interactive music-that is, music that in some way involves the audience in the process of its own creation-did not begin with the Internet, and Web composers are not the first group of artists to want to share the creative process (whether by method, whim, or chance) with their audience. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
sonic plasticity, generative music, virtual music, furniture music, interactive music, smart mobs, virtual instruments, experimental music, ambient music Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Brain Opera, Unsilent Night, The Grey Album, Rocket Network, John Cage, Mind Forest, Danger Mouse, Cathedral Band, Downhill Battle, Phil Kline, Sensor Chair, Cinema Volta, Grey Tuesday, The Kitchen, Erik Satie, Media Lab, Bay Area, Public Supply, San Francisco, The League of Automatic Music Composers, Web Phases, World Wide Web, Digital Millennium Copyright Act, Future Music Blender New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Interactive music-that is, music that in some way involves the audience in the process of its own creation-did not begin with the Internet, and Web composers are not the first group of artists to want to share the creative process (whether by method, whim, or chance) with their audience. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
sonic plasticity, generative music, virtual music, furniture music, interactive music, smart mobs, virtual instruments, experimental music, ambient music Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Brain Opera, Unsilent Night, The Grey Album, Rocket Network, John Cage, Mind Forest, Danger Mouse, Cathedral Band, Downhill Battle, Phil Kline, Sensor Chair, Cinema Volta, Grey Tuesday, The Kitchen, Erik Satie, Media Lab, Bay Area, Public Supply, San Francisco, The League of Automatic Music Composers, Web Phases, World Wide Web, Digital Millennium Copyright Act, Future Music Blender New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 28
books:
See all 28 books this book cites
- The Structure of Scientific Revolutions by Thomas S. Kuhn on page 162, Back Matter (1), and Back Matter (2)
- Erik Satie by Alan M. Gillmor on page 5, Back Matter (1), and Back Matter (2)
- Feeling and Form by Susanne K. Langer on page 100, and Back Matter
- The Internet Business Guide: Riding the Information Superhighway to Profit by Rosalind Resnick in Back Matter (1), and Back Matter (2)
- John Cage Ex(plain)ed by Richard Kostelanetz in Back Matter (1), and Back Matter (2)
See all 28 books this book cites
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