The sound of tomorrow : how electronic music was smuggled into the mainstream / Mark Brend.

Includes bibliographical references, filmography, discography and lists of television shows, etc. and index.

FC; Half title; Title; Copyright; Introduction; 1 More music than they ever had before; 2 I like music that explodes into space; 3 The privilege of ignoring conventions; 4 Out of the ordinary; 5 Manhattan researchers; 6 Because a fire was in my head; 7 Moog men; 8 White noise; 9 It rhymes with vogue; Epilogue; Notes; Watch and listen; Sources; Acknowledgements; Index.

Monterey pop festival, 1967. Bernie Krause and Paul Beaver demonstrated a Moog synthesizer to the assembled rock aristocracy, plugging into a surge of interest that would see synthesizers and electronic sound become commonplace in rock and pop early the following decade. And yet in 1967 electronic music had already seeped into mainstream culture. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had crea.

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