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Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? This book explores genres ranging from techno to electroacoustic music, from glitch to ambient music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but indispensable for understanding electronic music.

Electronic music --- Avant-garde (Music) --- Music --- Music and technology. --- Musique électronique --- Musique expérimentale --- Musique --- Musique et technologie --- History and criticism. --- Philosophy and aesthetics. --- Histoire et critique --- Philosophie et esthétique --- Technology and music --- Technology --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Experimental music --- Musical avant-garde --- Avant-garde (Aesthetics) --- Philosophy --- Musique électronique --- Musique expérimentale --- Philosophie et esthétique --- Music and technology --- History and criticism --- Philosophy and aesthetics --- 78.48

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Recordings are now the primary way we hear classical music, especially the more abstract styles of "absolute" instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This erudite yet concise study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.

MP3 (Audio coding standard) --- Sound --- Music and technology. --- Performance practice (Music) --- Music --- Sound recordings --- Absolute music. --- MPEG Audio Layer 3 (Audio coding standard) --- Digital audio --- Digital sound recording --- Digital electronics --- Technology and music --- Technology --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Audio discs --- Audio recordings --- Audiorecordings --- Discs, Audio --- Discs, Sound --- Disks, Sound --- Phonodiscs --- Phonograph records --- Phonorecords --- Recordings, Audio --- Recordings, Sound --- Records, Phonograph --- Records, Sound --- Sound discs --- Audio-visual materials --- Abstract music --- Social aspects. --- Recording and reproducing --- Digital techniques. --- History --- Philosophy and aesthetics. --- Digital techniques --- Standards --- Philosophy --- Philosophy and aesthetics --- Schnabel, Artur, --- Gould, Glenn --- Schnabel, Arthur, --- Gūrudo, G. --- Gūrudo, Guren --- Gould, Glenn, --- Gold, Glen --- Criticism and interpretation. --- Absolute music --- Music and technology --- Acoustics --- Continuum mechanics --- Mathematical physics --- Physics --- Pneumatics --- Radiation --- Wave-motion, Theory of --- Social aspects --- Recording and reproducing&delete& --- Gould, Glenn Herbert, --- Gulʹd, Glen, --- 78.85 --- 78.81 --- 78.77.9 --- 78.86.2 --- 78.29.1 --- absolute instrumental music. --- aesthetics. --- art music. --- classical music. --- contemporary world. --- historical. --- listening to music. --- live arts. --- mechanical reproduction. --- music criticism. --- music critics. --- music historians. --- music history. --- music recordings. --- music scholars. --- music. --- musical contexts. --- musical culture. --- musicology. --- nonfiction. --- performing arts. --- recording technology. --- recordings and sound. --- socially progressive. --- students and teachers.