Introduction: Making Music in Thin Air Chapter 1 A Brief History of Interactive Music Chapter 2 Unsilent Night: A Case Chapter 3 The Brain Opera: A Case Study in Space Chapter 4 Music on the Web in the Twentieth Century Chapter 5 Cathedral: A Case Study in Time Chapter 6 Cell Phones and Satellites Chapter 7 Art and Ethics Online Chapter 8 The Grey Album: A Case Chapter 9 Virtual Music
William Duckworth has composed over 100 works, including his Time Curve Preludes for solo piano, and the choral work, Southern Harmony. A professor of music at Bucknell University, he teaches both music history and composition. He lives in West New York, NJ, and Lewisburg, Pennsylvania.
"Speaking of the web, if you are curious about the history of
web-based music, I'd recommend the freshly published, Virtual
Music: How the Web Got Wired for Sound. . . the book traces the
development of interactive music through the 20th century from Erik
Satie through John Cage, Brian Eno, Moby, and others. The
technology itself is described as it has inspired experimentation
by artists, including composers who have developed new ways to
involve the audience in their music, plus possibilities for the
non-musically trained to 'play the Web'." -- Scanner, on his
webblog
"An electronic composer himself, Duckworth begins with the history
of "interactive music," including artists such as John Cage and
Erik Satie, and rockets into the future with pioneers such as Brian
Eno and Moby, exploring the many ways the Internet has changed the
mode of distribution for artists, as well as the unique
opportunities it presents for a sort of virtual studio and a
creative tool unlike any other in the history of recorded sound."
-- Jim Derogatis, Chicago Sun Times
"An intriguing survey of the science and musics of sound in a new
environment
." -- Bookwatch"...an excellent starting place for considering the
historical antecedents that made virtual music desirable and
possible." --Popular Music and Society
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