The Sound Of Tomorrow: How Electronic Music Was Smuggled Into The Mainstream How Electronic Music Was Smuggled Into The Mainstream

"London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by the early 1960s, all you had to do was watch commercial TV for a few hours to hear the weird and wonderful sounds of the new world. The Sound of Tomorrow tells the compelling story of the sonic adventurers who first introduced electronic music to the masses. A network of composers, producers, technicians and inventors, they took emerging technology and with it made sound and music that was bracingly new"--EBL Monterey Pop Festival, 1967. Bernie Krause And Paul Beaver Demonstrate A Moog Synthesizer To The Assembled Rock Aristocracy, Plugging Into A Surge Of Interest That Would See Synthesizers And Electronic Sound Become Commonplace In Rock And Pop Early The Following Decade. And Yet In 1967 Electronic Music Had Already Seeped Into Mainstream Culture. For Years, Composers And Technicians Had Been Making Electronic Music For Film And Tv. Hitchcock Had Commissioned A Theremin Soundtrack For Spellbound (1945); The Forbidden Planet (1956) Featured An Entirely Electronic Score; Delia Derbyshire Had Created The Dr Who Theme In 1963; And By The Early 1960s, All You Had To Do Was Watch Commercial Tv For A Few Hours To Hear The Weird And Wonderful Sounds Of The New World. The Sound Of Tomorrow Tells The Compelling Story Of The Sonic Adventurers Who First Introduced Electronic Music To The Masses. A Network Of Composers, Producers, Technicians And Inventors, They Took Emerging Technology And With It Made Sound And Music That Was Bracingly New [publisher Description]. More Music Than They Ever Had Before -- I Like Music That Explodes Into Space -- The Privilege Of Ignoring Conventions -- Out Of The Ordinary -- Manhattan Researchers -- Because A Fire Was In My Head -- Moog Men -- White Noise -- It Rhymes With Vogue. Mark Brend. Includes Bibliographical References (p. [251]-253), Filmography, Discography And Lists Of Television Shows, Etc. (p. [233]-249) And Index. Monterey pop festival, 1967. Bernie Krause and Paul Beaver demonstrated a Moog synthesizer to the assembled rock aristocracy, plugging into a surge of interest that would see synthesizers and electronic sound become commonplace in rock and pop early the following decade. And yet in 1967 electronic music had already seeped into mainstream culture. For years, composers and technicianshad been making electronic music for film and TV. Hitchcock had commissioned atheremin soundtrack for Spellbound(1945); The Forbidden Planet (1956)featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by the early1960s, all you had to do was watch commercial TV for a few hours to hear theweird and wonderful sounds of the new world.TheSound of Tomorrow tells the compelling story of the sonic adventurers who first introduced electronic music to the masses. A network of composers, producers, technicians and inventors, they took emerging technology and with it... Monterey pop festival, 1967. Bernie Krause and Paul Beaver demonstrated a Moog synthesizer to the assembled rock aristocracy, plugging into a surge of interest that would see synthesizers and electronic sound become commonplace in rock and pop early the following decade. And yet in 1967 electronic music had already seeped into mainstream culture. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had crea A fascinating history of the inventors, producers and technicians behind the early televisual and cinematic breakthroughs of electronic music, packed with original research and interviews.