Download The Musicology of Record Production by Simon Zagorski-Thomas PDF
By Simon Zagorski-Thomas
Recorded song is as assorted to stay track as movie is to theatre. during this publication, Simon Zagorski-Thomas employs present theories from psychology and sociology to envision how recorded track is made and the way we take heed to it. commencing a framework for the learn of recorded song and list construction, he explains how recorded tune is essentially assorted to concert, how list construction affects our interpretation of musical which means and the way a few of the contributors within the procedure have interaction with know-how to supply recorded track. He combines rules from the ecological method of belief, embodied cognition and the social development of technological platforms to supply a precis of theoretical methods which are utilized to the sound of the song and the artistic job of creation. a variety of examples from Zagorski-Thomas's expert event exhibit those principles in motion.
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From the Preface :
This publication illustrates a set of tune manuscripts which was once made lately to profit the basis for modern functionality Arts. the gathering was firm via conditions instead of any means of choice. therefore it indicates the various instructions during which song notation is now going. The manuscripts aren't prepared in line with types of song, yet alphabetically in line with the composer's identify. No explanatory info is given.
The textual content for the booklet is the results of a method using I-Ching probability operations. those made up our minds what percentage phrases relating to his paintings have been to be written by means of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specially written for this booklet, they're preceded by way of a paragraph signal and by means of the author's identify. different comments have been selected or written by means of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided by accident operations. This procedure used to be with a view to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to write down approximately notation or some· factor suitable to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a dismal hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this publication. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century track notation attainable.
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Example text
Kuhn also cites a fascinating experiment: An experimental subject who puts on goggles fitted with inverting lenses initially sees the entire world upside down . . after the subject has begun to learn to deal with his new world, his entire visual field flips over, usually after an intervening period in which vision is simply confused. Thereafter, objects are again seen as they had been before the goggles were put on. (1962, p. e. the normal and the inverted) and yet both see the same thing. In very crude terms, what you believe about the nature of the world determines what you see and, therefore, how you study it.
As Simon Frith and I said in the introduction to our recent book, The Art of Record Production: ‘to study recording is . . to raise questions about two of the shibboleths of everyday musical understanding: the importance of the individual musical creator and the sacred nature of “the musical work”’ (Zagorski-Thomas and Frith 2012, p. 3). In relation to the question of the individual musical creator, one of the key changes in musical practice that has emerged from the development of recording is also part of a larger shift in emphasis, perception and practice within modern forms of art, particularly during the second half of the twentieth century.
Indeed, the development of audio playback technologies has been at least as much concerned with widening and expanding 23 24 Why study record production? the opportunities for consuming recorded music as it has with improving quality. This agenda of making recorded music accessible at every turn must surely have contributed to lowering the listener’s valuation of it: the more commonplace it becomes, the less value it must have. It seems no coincidence that the cost of recorded music has declined in relation to the cost of attending live performances, which are marketed more and more in relation to the aura of the occasion.