Download Capturing Sound: How Technology Has Changed Music (Revised by Mark Katz PDF

By Mark Katz

Absolutely revised and up to date, this new version of Mark Katz's award-winning textual content provides insurance of mashups and Auto-Tune, explores contemporary advancements in file-sharing, and contains an increased end and bibliography.

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Yet our reactions are not inevitably negative. As the Heifetz example reveals, the absence of the visual can have its own appeal. A 1912 article reprinted in Voice of the Victor praised the recorded medium for stripping away all that the author considered unnecessary to the musical experience. “In listening to the Talking Machine,” he explained, “the hearer must of necessity concentrate upon the tonal performance and does not have his attention diverted to extraneous matters, such as scenery, costumes, [and] acting .

Herc’s Jamaican-influenced DJing came to play a central role in a new type of music that arose in the Bronx of the early 1970s: hip-hop. In 1979, New York returned the favor: “Rapper’s Delight,” one of the first hip-hop records, quickly crossed the fifteen hundred miles between New York and Kingston, where the Jamaican reggae musician Joe Gibbs got his hands on it and recorded his own version. 25 Even when recordings aren’t winging their way across vast expanses, they can move easily within our daily lives, detaching music from its traditional times, venues, and rituals.

The portability of live music depends on the size of instruments and the number of musicians needed to perform a work. Minstrels and marching bands move easily; orchestras and anvil choruses less so. With recording, however, all music is more or less equally portable, from harmonica solos to the massive works of Mahler. Furthermore, when music is recorded and replayed, it is removed from its original setting, losing its unique spatial and temporal identity. ” Although the visual arts concerned Benjamin most, his ideas are relevant here.

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