›I sing the Body Electric‹

Technology has always been inextricably linked to the development of music. However, the 20th century saw a rapid acceleration: A new "machine music" emerged, electronic musical instruments were developed and composers often became sound researchers. A problematic equation of technical change and musical progress came to light. "Noise" was elevated to an artistic value and audiences and critics often reacted to these developments with shock.

In pop and rock, electroacoustics became the essence of music-making and musical aesthetics. Sound engineers with recording and playback technology became increasingly important, and the rise of studio aesthetics had a considerable influence on the listening habits of concert audiences. In view of all this, it seems justified to speak of a "technologization" of musical aesthetics in the 20th century.

This volume brings together contributions from musicologists, composers, engineers and historians of technology. They analyze selected aspects of the relationship between music and technology, consider music as a whole and deal with production as well as reception, both in the field of art music and popular music. They show that an artistic virtuosity could be achieved with technical means that surpassed the achievements of even the greatest musical virtuosos.

Among other things, the invention and spread of new musical instruments such as the Moog synthesizer and, using Japan as an example, the adaptation of Western musical instruments and their cultural, technological and economic implications are examined. Contributions show how and why previously undesirable sounds of the electric guitar became popular and an expression of a new popular music aesthetic. They also show how the vibrato of the violin became an artistic ideal due to the conditions of early sound recordings.

Sound engineers gained increasing influence on the definition of musical aesthetics, with the balance of power in the rock sector shifting from producers to performers. Current developments in music visualization and the effects of technical changes on musicians and music education are also analysed.

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