Table of Contents

Artefacts 8: Material Culture and Electronic Sound

Martin Collins, “Series Preface,” vii-viii

Brian Eno, “Foreword,” ix-x

Tim Boon and Frode Weium, “Introduction,” xi-xvii

1. Aleksander Kolkowski and Alison Rabinovici, “Bellowphones and Blowed Strings: The Auxeto-Instruments of Horace Short and Charles Algernon Parsons,” 1-42

2. Katy Price , “Artifacts in Performance,” 43-65

3. Frode Weium. “Technology and Authenticity: The Reception of the Hammond Organ in Norway,” 67-93

4. Sarah Angliss, “Mimics, Menaces, or New Musical Horizons? Musicians' Attitudes toward the First Commercial Drum Machines and Samplers,” 95-130

5. Ragnhild Br0vig-Hanssen, “The Magnetic Tape Recorder: Recording Aesthetics in the New Era of Schizophonia,” 131-157

6. Sean Williams, “Stockhausen Meets King Tubby's: The Transformation of the Stepped Filter into a Musical Instrument,” 159- 183

7. Mick Grierson and Tim Boon, “The Oramics Machine and the Origins of British Electronic and Computer Music,” 185-201

8. Tellef Kvifte, “Musical Instruments and User Interfaces in Two Centuries,” 203-229

9. Peter Donhauser, “Austrian Pineers of Electrnic Musical Instruments,”231-258

10. David Toop, “ New and Rediscovered Musical Instruments Rediscovered,” 259-270

Artefacts Music Reading List, 271-274

Index, 275-288

About the Contributors, 289-293