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“Assimilate”: Dance Beats, Electronic Noise, and Rock and Roll 1983-1989 Tracks and Elements: Industrial Music Archetypes and Stylistic Cues “Spread the Virus”: The First Generation of Industrial Music and Culture Noise and Fury: The Second Annual Report. īeginnings: The Formation of Industrial Records Sounds/Tapes: Early Sonic Experimentation. īuilding the Machine: The Story of Throbbing Gristle and Industrial Recordsīeginnings: Genesis P-Orridge (TG 1 of 4). Tangerine Dream – “It’s the Synthesizers”. Krautrock – Kosmische Musik in West Germany. New York City Proto-Punk – The Velvet Underground

Musical Modernisms in Popular music 1967-1974. LaMonte Young and Terry Riley: Minimalism

John Cage – Silence, Noise, and Indererminacy Musical Modernisms and the Post-War Avant-garde. Modernism, Utopia and Dystopia in Fictional Literature and Film Modernism and Politics from 1920 to 1945. Machines and Manifestos – Futurism and Dada Understanding Modernisms – Artistic Aesthetics and Political Systems Toward an operational definition of Modernism in the 20th Century. Modernisms: The Historical and Cultural Framework The creation of Industrial music that eventually led to the music’s absorption into the mainstream Nails and Marilyn Manson worked with music producers who had devised a sonic “formula” for During the third generation (1989-1996) bands like Nine Inch (1983-1989), including Front 242, Skinny Puppy, and Ministry attempted to assimilateĬontemporary popular music styles into the modernist framework in order to diversify their The first generation (19751983) assembled the past into a unified subcultural and musical style.

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That musicians combined to compose a series of musical archetypes. Industrial music, mapping out the sound of each using phenomenologically based musical cues I do this by examining what I have labeled as three separate generations of I illustrate how the various modernist strands that led to theĮmergence of Industrial music in the 1970s were understood and combined, and how theĮventual breakdown of that modernist paradigm in the mid-1990s resulted in the deterioration of This dissertation traces both the creation and breakdown of a modernist ideology within the Throughout theĭissertation I focus on how Industrial musicians, journalists, and fans worked to construct anĪctive, self-conscious history for themselves in a subculture that viewed musical sound as a form Noise, indeterminacy, timbral exploration, and electronic and tape-based music. Information war, with specific musical techniques mined from the past including the use of Understood as a modernist endeavor that connected philosophical ideals, including a MarxistĬritique of contemporary capitalist society and author William Burroughs’ concept of the As a result, the first generation of Industrial music (1975-1983) can be Industrial as a fusion of experimental popular music sounds, performance art theatricality, andĪvant-garde composition. This model was expanded upon by musicians inĮngland and Germany during the late-1970s who developed the popular music style called History and an intense self-consciousness. Ideas connected to early twentieth century modernist movements including a strong sense of The intense noise of their music while simultaneously tapping into a related set of aesthetics and The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe This dissertation is accepted by the Graduate School We, the dissertation committee for the above candidate for theĭoctor of Philosophy degree, hereby recommend Technology, Noise, and Modernism in Industrial Music 1975-1996 Libraries on behalf of The Graduate School at Stony Brook University. The official electronic file of this thesis or dissertation is maintained by the University

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