We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure [email protected]
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
From 1963–1965, The Outer Limits, an anthology television show co-created by Joseph Stefano and Leslie Stevens, was broadcast on ABC. Through the use of unconventional and newly invented instruments and household objects to produce unique sounds, the show not only looked different from most television of the time, but it sounded different as well. We Will Control All That You Will Hear: The Outer Limits and the Aural Imagination, discusses the use of music within the series, offering multiple readings of the ways that music is used. This book focuses not only on the ways that newly composed scores and stock music were utilized in the series, but also how the music enhances and interacts with what we see and hear onscreen.
