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This updated and expanded third edition of Peter Manning's classic text, Electronic and Computer Music, deals with the development of the medium from its birth to the 21st century. The first section of the book, which remains essentially unchanged in this edition, covers electroacoustic music from its beginning at the turn of the century to 1945, the development of post-1945 'classical' studios, development of voltage-controlled technology, and its commercial exploitation in tape works, live electronic music, and the early use of electronics in rock and pop music. Section two, Computer Music, is heavily revised and significantly expanded and treats the digital revolution from the early experiments during the late 1950s and early 1960s to the advanced systems of today. Emphasizing the functional characteristics of emerging digital technologies and their influence on the creative development of the medium, Manning covers key developments in both commercial and the non-commercial sectors.

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• 1 The Background, to 1945(p. 1)
• Developments from 1945 to 1960(p. 17)
• 2 Paris and Musique Concrète(p. 19)
• 3 Cologne and Elektronische Musik(p. 43)
• 4 Milan and Elsewhere in Europe(p. 79)
• 5 America(p. 86)
• New Horizons in Electronic Design(p. 115)
• 6 The Voltage-Controlled Synthesizer(p. 117)
• The Electronic Repertory from 1960(p. 157)
• 7 Works for Tape(p. 159)
• 8 Live Electronic Music(p. 187)
• 9 Rock and Pop Electronic Music(p. 201)
• The Digital Revolution(p. 211)
• 10 The Birth of Computer Music(p. 213)
• 11 New Horizons in Digital Technology(p. 253)
• 12 The Midi Synthesizer(p. 289)
• 13 From Microcomputer to Music Supercomputer(p. 324)
• 14 Conclusion(p. 354)
• Bibliography(p. 361)
• Discography(p. 364)
• Index(p. 379)

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CHOICE Review

Manning (Univ. of Durham, UK) presents an in-depth history of electronic and computer music by tracing the technological developments that gave birth to it and governed its evolution. Beginning with early precursors, he masterfully chronicles advances such as voltage-controlled synthesizers, computer-generated sound synthesis, MIDI, and 21st-century digital audio workstations, to name just a few. The first edition (CH, Apr'86) appeared when many technologies now taken for granted were nascent or did not yet exist. Updated editions (1994, 2004, 2013) each cover much new territory. The author is a composer and teacher of electroacoustic music, but he does not purport to teach composition here. While he mentions important composers and pieces that exemplify technologies under discussion, he does not undertake a stylistic or aesthetic survey of repertory. Instead, he provides a remarkable breadth of scientifically oriented information for advanced students and practitioners in the field who need to understand how the current technological landscape came about. This new edition, along with the earlier editions, belongs in academic music research libraries as well as relevant science collections. Summing Up: Highly recommended. Upper-division undergraduates and above. D. Arnold University of North Texas