BIG QUESTIONS REOPENED
As will become increasingly clear as this book nears its end and the narrative approaches the present, the truly revolutionary aspect of electronic music was the new relationship it made possible between composers and works. The composer of an electronic composition can produce a “score” exactly the way a painter produces a picture or a sculptor produces a statue: what is produced is a unique original “art object” rather than a set of directions for performance. And therefore, obviously, “score” is the wrong word for it, since a score is something written, and electronic music can dispense with writing. It created the possibility of a postliterate musical culture. It spelled, potentially, the beginning of the end of the culture of which this book is a history.
- Citation (MLA):
- Richard Taruskin. "Chapter 4 The Third Revolution." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Oct. 2014. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004010.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 4 The Third Revolution. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 1 Oct. 2014, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004010.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 4 The Third Revolution." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Oct. 2014, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004010.xml