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It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music’s current status as a commodity and popular music’s unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.
The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments, personalities and stories can be found that are ascribable to conceptual frameworks that may differ greatly one from another. Such complexity cannot be traced back to single theories or all-encompassing interpretations, but may be tackled, philosophically, starting from certain characteristics. This book identifies nine such characteristics: namely, Extremes, Noise, Silence, Technology, Audience, Listening, Freedom, Disintegration, and New Media. Each of these permits us to open up unforeseen philosophical-cultural paths and interpret, in its multifarious variety, the developments of contemporary music, profoundly interwoven with the history of thought, culture and society.
The presence of the phenomenological body is central to music in all of its varieties and contradictions. With the explosion of scholarly works on the body in virtually every field in the humanities, the social as well as the biomedical sciences, the question of how such a complex understanding of the body is related to music, with its own complexity, has been investigated within specific disciplinary perspectives. The Oxford Handbook of Music and the Body brings together scholars from across these fields, providing a platform for the discussion of the multidimensional interfaces of music and the body. The book is organized into six sections, each discussing a topic that defines the field: the moving and performing body; the musical brain and psyche; embodied mind, embodied rhythm; the disabled and sexual body; music as medicine; and the multimodal body. Connecting a wide array of diverse perspectives and presenting a survey of research and practice, the Handbook provides an introduction into the rich world of music and the body.
In Mediatization in Popular Music Recorded Artifacts: Performance on Record and on Screen, the relationship between performance, technological mediation, and the sense of live presence is investigated through a series of case studies related to popular music products. Alessandro Bratus explores technological mediation as a process of authentication that involves a chain of interconnected instances that have their roots in the cultural context in which the media products are designed to be marketed, and that also shape its recording technique and post-production. The book analyzes posthumous records, a peculiar case of the organization of recorded tracks made in absentia of their original performers that puts forward the possibility of an “otherworldly” collaboration between the living and the dead. Bratus also argues that the crucial significance of live performance for the construction of a personal, intimate relationship between performers and audiences reverberates in the audiovisual construction of the filmed concert, in which the spectator is put in the position of a witness rather than an active participant.
"Arved Ashby writes with a keen sense of the historical processes, ironies, and reversals that seem to characterize the ways that musicologists think about, and contemporary listeners experience, works and performance. This book is a major contribution to the burgeoning body of critical musicological literature on recordings; anybody interested in that field, or in the question of the 'artwork' in the contemporary world, needs to read this book--which fortunately, is a great pleasure to do."--Adam Krims, author of Music and Urban Geography "The relationship between classical music and recording is strangely conflicted: on the one hand recorded music is the perfect realization of aesthetic autonomy, on the other hand it commodifies music and transforms its role within society. Ashby's book offers a penetrating analysis of these cultural conflicts, showing how technological developments from the phonogram to the mp3 have changed our basic sense of what music is as well as the ways in which we consume it. What emerges from this sustained study of the relationship between technology and values is a view of classical musical culture that is both richer and truer to life."--Nicholas Cook, author of A Guide to Musical Analysis "Lively and persuasive. Ashby has the enviable, rare ability to lead the reader comfortably through highly complex material without oversimplifying. This is a must-read for composers, music theorists, performers, musicologists, critics, and anyone with an interest in classical music beyond the elementary level."--Jonathan Dunsby, author of Performing Music
Illuminations contains the most celebrated work of Walter Benjamin, one of the most original and influential thinkers of the 20th Century: 'The Work of Art in the Age of Mechanical Reproduction', ‘The Task of the Translator’ and 'Theses on the Philosophy of History', as well as essays on Kafka, storytelling, Baudelaire, Brecht's epic theatre, Proust and an anatomy of his own obsession, book collecting. This now legendary volume offers the best possible access to Benjamin’s singular and significant achievement, while Hannah Arendt’s introduction reveals how his life and work are a prism to his times.
Musical Rhythm in the Age of Digital Reproduction presents new insights into the study of musical rhythm through investigations of the micro-rhythmic design of groove-based music. The main purpose of the book is to investigate how technological mediation - in the age of digital music production tools - has influenced the design of rhythm at the micro level. Through close readings of technology-driven popular music genres, such as contemporary R&B, hip-hop, trip-hop, electro-pop, electronica, house and techno, as well as played folk music styles, the book sheds light on how investigations of the musical-temporal relationships of groove-based musics might be fruitfully pursued, in particular with regard to their micro-rhythmic features. This book is based on contributions to the project Rhythm in the Age of Digital Reproduction (RADR), a five-year research project running from 2004 to 2009 that was funded by the Norwegian Research Council.
This book addresses the issue of music consumption in the digital era of technologies. It explores how individuals use music in the context of their everyday lives and how, in return, music acquires certain roles within everyday contexts and more broadly in their life narratives.