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