This volume examines the synthesizer’s significance for music and culture, with a range of contributors providing historical, musicological, practical and theoretical perspectives. The synthesizer as an instrument has evolved rapidly over the last 50 years, conveying different meanings in musical culture at various times in its history. For example, post-punk and new wave acts used synths to signify their embrace of futurism and modernity. Earlier psychedelic bands used the instrument to sonically represent mind expansion while prog acts signposted their lineage to the classical avant-garde. Techno artists used synths to escape the strictures of acoustic music in parallel with rave culture’s desire for escapism from the mundanity of daily existence. It is now seemingly ubiquitous in modern pop music production.

This volume examines the synthesizerâ (TM)s significance for music and culture, with a range of contributors providing historical, musicological, practical and theoretical perspectives. The synthesizer as an instrument has evolved rapidly over the last 50 years, conveying different meanings in musical culture at various times in its history. For example, post-punk and new wave acts used synths to signify their embrace of futurism and modernity. Earlier psychedelic bands used the instrument to sonically represent mind expansion while prog acts signposted their lineage to the classical avant-garde. Techno artists used synths to escape the strictures of acoustic music in parallel with rave cultureâ (TM)s desire for escapism from the mundanity of daily existence. It is now seemingly ubiquitous in modern pop music production.

The musicological study of popular music has developed, particularly over the past twenty years, into an established aspect of the discipline. The academic community is now well placed to discuss exactly what is going on in any example of popular music and the theoretical foundation for such analytical work has also been laid, although there is as yet no general agreement over all the details of popular music theory. However, this focus on the what of musical detail has left largely untouched the larger question - so what? What are the consequences of such theorization and analysis? Scholars from outside musicology have often argued that too close a focus on musicological detail has left untouched what they consider to be more urgent questions related to reception and meaning. Scholars from inside musicology have responded by importing into musicological discussion various aspects of cultural theory. It is in that tradition that this book lies, although its focus is slightly different. What is missing from the field, at present, is a coherent development of the what into the so what of music theory and analysis into questions of interpretation and hermeneutics. It is that fundamental gap that this book seeks to fill. Allan F. Moore presents a study of recorded popular song, from the recordings of the 1920s through to the present day. Analysis and interpretation are treated as separable but interdependent approaches to song. Analytical theory is revisited, covering conventional domains such as harmony, melody and rhythm, but does not privilege these at the expense of domains such as texture, the soundbox, vocal tone, and lyrics. These latter areas are highly significant in the experience of many listeners, but are frequently ignored or poorly treated in analytical work. Moore continues by developing a range of hermeneutic strategies largely drawn from outside the field (strategies originating, in the most part, within psychology and philosophy) but still deeply r

Discusses the fundamental principles of electronic music, supplies clear instructions on how to operate an electronic synthesizer, and surveys the various types of synthesizers and accessory equipment

MOS technology has rapidly become the de facto standard for mixed-signal integrated circuit design due to the high levels of integration possible as device geometries shrink to nanometer scales. The reduction in feature size means that the number of transistor and clock speeds have increased significantly. In fact, current day microprocessors contain hundreds of millions of transistors operating at multiple gigahertz. Furthermore, this reduction in feature size also has a significant impact on mixed-signal circuits. Due to the higher levels of integration, the majority of ASICs possesses some analog components. It has now become nearly mandatory to integrate both analog and digital circuits on the same substrate due to cost and power constraints. This book presents some of the newer problems and opportunities offered by the small device geometries and the high levels of integration that is now possible.The aim of this book is to summarize some of the most critical aspects of high-speed analog/RF communications circuits. Attention is focused on the impact of scaling, substrate noise, data converters, RF and wireless communication circuits and wireline communication circuits, including high-speed I/O.

This book constitutes the refereed proceedings of the 19th International Conference on Verification, Model Checking, and Abstract Interpretation, VMCAI 2018, held in Los Angeles, CA, USA, in January 2018.The 24 full papers presented together with the abstracts of 3 invited keynotes and 1 invited tutorial were carefully reviewed and selected from 43 submissions. VMCAI provides topics including: program verification, model checking, abstract interpretation, program synthesis, static analysis, type systems, deductive methods, program certification, decision procedures, theorem proving, program certification, debugging techniques, program transformation, optimization, and hybrid and cyber-physical systems.

This volume brings together scholars and artist-researchers to explore the nature and function of musical instruments in creative practices, and their role in musical culture. Through historical, theoretical, critical, practical-artistic perspectives and case studies, the contributors here examine identities and affordances of acoustical, electronic and digital musical instruments, the kinds of relationships that composers and performers establish with them, and the crucial role they play in the emergence of musical experiences and meanings.

Qualitative synthesis within the family of systematic reviews meets an urgent need to use knowledge derived from qualitative studies to inform practice, research, and policy. Despite the contingent nature of evidence gleaned from synthesis of qualitative studies, systematic synthesis is an important technique and, used judiciously, can deepen understanding of the contextual dimensions that emerge from qualitative research. This pocket guide presents an overview for planning, developing, and implementing qualitative synthesis within existing protocols and guidelines for conducting systematic reviews. The authors also explore methodological challenges, including: the philosophical tensions of integrating qualitative synthesis within the family of systematic reviews; the balance of comprehensive and iterative information retrieval strategies to locate and screen qualitative research; the use of appraisal tools to assess quality of qualitative studies; the various approaches to synthesize qualitative studies, including interpretive, integrated, and aggregative; and the tensions between the generalizability and transferability of findings that emerge from qualitative synthesis. Social work researchers, educators, and doctoral students who are interested in systematic reviews will find the step-by-step format of this book invaluable for conducting their reviews, both in the form of rapid evidence assessments and in high-quality critical reviews.

Existing books on the analysis of popular music focus on theory and methodology, and normally discuss parts of songs briefly as examples. The impression often given is that songs are being chosen simply to illuminate and exemplify a theoretical position. In this book the obverse is true: songs take centre stage and are given priority. The authors analyse and interpret them intensively from a variety of theoretical positions that illuminate the song. Thus, methods and theories have to prove their use value in the face of a heterogeneous, contemporary repertoire. The book brings together researchers from very different cultural backgrounds and encourages them to compare their different hearings and to discuss the ways in which they make sense of specific songs. All songs analysed are from the new millennium, most of them not older than three years. Because the most widely popular styles are too often ignored by academics, this book aims to shed light on how million sellers work musically. Therefore, it encompasses a broad palette, highlighting mainstream pop (Lady Gaga, Ke$ha, Lucenzo, Amy McDonald), but also accounting for critically acclaimed ’indie’ styles (Fleet Foxes, Death Cab for Cutie, PJ Harvey), R&B (Destiny’s Child, Janelle Monae), popular hard rock (Kings of Leon, Rammstein), and current electronic music (Andrés, Björk). By concentrating on 13 well-known songs, this book offers some model analyses that can very easily be studied at home or used in seminars and classrooms for students of popular music at all academic levels.