English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

New ideas about music in Europe around 1950 resulted, in part, from contemporaneous research being done in electroacoustic music studios. Early serial composers, searching for a material untouched by history, turned to the basic components of sound, sound’s ‘parameters’, which were seen as naturally occurring raw materials from which a new music could be built. Ironically, this supposedly natural material could not have been identified without the technology of electroacoustic music studios. Such technology enabled sound events to be analysed—to be literally ‘broken up’—into component parts; these components, so-called parameters such as pitch, intensity, duration, and timbre, could then be controlled with rationalized serial methods. This paper examines the significant role research in electroacoustic music studios had in contributing to the aesthetic ideals of postwar serial music.

The role of technology in the aesthetics of postwar serial music