RECIPROCITY

Chapter:

CHAPTER 4 The Third Revolution

Source:

MUSIC IN THE LATE TWENTIETH CENTURY

Author(s):

Richard Taruskin

A less expected form of interaction between live and prerecorded media surfaced around 1960, when a number of composers—many of them, as it happened, of East European nationality—began composing works for conventional instruments that emulated “electronic” sounds. Two aspects of the medium particularly attracted imitators. One was the long, gradually and continuously modified sounds that composers achieved in the studio by using filters and voltage-controlled speed variation, contradicting ordinary assumptions about rhythm and the articulation of musical form.

Citation (MLA):

Richard Taruskin. "Chapter 4 The Third Revolution." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 Dec. 2023. <https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004011.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 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004011.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 6 Dec. 2023, from https://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-004011.xml