Let The Music Play How R B Fell In Love With 80s Synths
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Let The Music Play: How R&B Fell In Love With 80s Synths
Let the Music Play is the overlooked story of how R&B, disco and funk were transformed by the explosion of music tech in the era of ghetto blasters and Ronald Reagan. It traces how pioneers like Stevie Wonder and Herbie Hancock inspired a new generation of black musicians and producers to reinvent music with a whole new set of rules. From superstars like Prince and Sade to production geniuses like Kashif and Jam & Lewis, it tells the fascinating stories of the artists involved and how they made some of the best-loved records of the era – creating a blueprint for music today.
The Synthesizer
Author: Mark Vail
language: en
Publisher: Oxford University Press, USA
Release Date: 2014-02
Electronic music instruments weren't called synthesizers until the 1950s, but their lineage began in 1919 with Russian inventor Lev Sergeyevich Termen's development of the Etherphone, what we now know of as the Theremin. The past century has seen remarkable developments in synthesizers, documented in the first chapter of this book by a historical look at the most important instruments and how they advanced methods of a musician's control, of sound generation, of improved capabilities for live performance, of interfaces that improved the musician's interaction with the instrument, and of groundbreaking ways to compose music. Chapter two covers the basics of acoustics and synthesis, including descriptions of individual synthesizer components and how they affect the generation of sound and the production of music. Today's synthesizer industry covers a vast range of devices, from affordable to expensive workstations, from analog to digital to hybrid forms of sound generation, from the expanding universe of software instruments to the vigorously revived world of modular synthesizers, from state-of-the-art all-digital instruments to those that function directly with analog machines of the past, and from synthesizers and controllers sporting traditional interfaces such as the organ- or piano-style keyboard to those that appeal to musicians in search of novel approaches to making music. Chapter three addresses many of the valuable considerations to make when shopping for synthesizers. The final two chapters outline strategies noted and successful synthesists use to program, compose and perform with, and record the ultimate electronic music instrument.
Punkademics
"In the thirty years since Dick Hebdige published Subculture: The Meaning of Style, the seemingly antithetical worlds of punk rock and academia have converged in some rather interesting, if not peculiar, ways. A once marginal subculture documented in homemade 'zines and three chord songs has become fodder for dozens of scholarly articles, books, PhD dissertations, and conversations amongst well-mannered conference panelists. At the same time, the academic ranks have been increasingly infiltrated by professors and graduate students whose educations began not in the classroom, but in the lyric sheets of 7" records and the cramped confines of all-ages shows. Punkademics explores these varied intersections by giving voice to some of the people who arguably best understand the odd bedfellows of punk and academia. In addition to being one of the first edited collections of scholarly work on punk, it is a timely book that features original essays, interviews, and select reprints from notable writers, musicians, visual artists, and emerging talents who actively cut & paste the boundaries between punk culture, politics, and higher education"--Publisher's description