Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde

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Acknowledgements
Introduction
Chapter 1. Origins: Creating a Laboratory
Chapter 2. Kinship: Cage, Tudor, and the Timbral Utopia
Chapter 3. Collaboration: The Science and Culture of Additive Synthesis
Chapter 4. Reclaiming Technology: From Information Theory to Statistical Form
Chapter 5: Controversy: The Aleatory Debates beyond Darmstadt
Chapter 6: Techno-Synthesis: From Vocoder Speech to Electronic Music
Epilogue
Glossary of Actors
Endnotes
Bibliography
Index

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For a decimated post-war West Germany, the electronic music studio at the WDR radio in Cologne was a beacon of hope. Jennifer Iverson's Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde traces the reclamation and repurposing of wartime machines, spaces, and discourses into the new sounds of the mid-century studio. In the 1950s, when technologies were plentiful and the need for reconstruction was great, West Germany began to rebuild its cultural prestige via aesthetic and technical advances. The studio's composers, collaborating with scientists and technicians, coaxed music from sine-tone oscillators, noise generators, band-pass filters, and magnetic tape. Together, they applied core tenets from information theory and phonetics, reclaiming military communication technologies as well as fascist propaganda broadcasting spaces. The electronic studio nurtured a revolutionary synthesis of science, technology, politics, and aesthetics. Its esoteric sounds transformed mid-century music and continue to reverberate today. Electronic music-echoing both cultural anxiety and promise-is a quintessential Cold War innovation.

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Revue de musicologie

This book is addressed to an audience not only of experts but also of students and music lovers. Iverson's effort to introduce the actors, networks, and music to all kinds of readers in an astute way is very compelling. Anyone interested in electronic music and its networks will find much to enjoy in Iverson's work

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