Musical Listening in the Age of Technological Reproduction (Hardback) book cover

Musical Listening in the Age of Technological Reproduction

Edited by Gianmario Borio

© 2015 – Routledge

430 pages

Purchasing Options:$ = USD
Hardback: 9781472442161
pub: 2015-12-16
$149.95
x
eBook (VitalSource) : 9781315596969
pub: 2016-04-29
from $54.95
$49.46


FREE Standard Shipping!
Look Inside

Description

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.

Reviews

'Bringing together a distinguished international roster of scholars, Musical Listening in the Age of Technological Reproduction offers an unprecedented breadth of new perspectives on the question of how sound technologies have transformed many aspects of what it means to listen. Building on Walter Benjamin’s classic writings, these essays make important contributions in the areas of musicology, ethnomusicology, analysis, composition, film and media, philosophy, perception, and sound studies, while their fascinating intersections point to emerging paradigms for rethinking the relationships between analog and digital, audio and multimedia, and live and recorded sound.’

Joseph Auner, Tufts University, USA

'These essays written by high profile scholars tackle some of the essential areas of today’s artistic expression. By placing listening in the foreground, they reverse the object of musical studies, and provide compelling and provocative ideas for both thinkers and creators of different aesthetic perspectives in today’s hyper-connected and technological world.’ Marco Stroppa, Hochschule für Musik und Darstellende Kunst, Stuttgart, Germany

Table of Contents

Part I Facets of a Theoretical Question

1 Gianmario Borio Aesthetic Experience Under the Aegis of Technology

2 Eric Clarke Ideological, Social and Perceptual Factors in Live andRecorded Music

3 Esteban Buch On the Evolution of Private Record Collections:A Short Story

4 Alessandro Arbo Music and Technical Reproducibility: A Paradigm Shift

5 Sebastian Klotz Algorithmic and Nostalgic Listening: Post-subjectiveImplications of Computational and Empirical Research

6 Steven Feld Listening to Histories of Listening: CollaborativeExperiments in Acoustemology with Nii Otoo Annan

Part II Remediations

7 Michele Girardi Remediation or Opera on Screen? Some MisunderstandingsRegarding Recent Research

8 Emilio Sala Between Mediatization and Live Performance: The Music forGiorgio Strehler’s The Tempest (1978)

9 Gianfranco Vinay The ‘Remediated’ Rite of Spring

Part III Listening with Images

10 Roberto Calabretto Listening to Images: A Historical Overview ofTheoretical Reflection

11 Nicholas Cook Seeing Sounds, Hearing Images: Listening Outside theModernist Box

12 Martin Laliberté The Transformation of Musical Listening:The Case of Electroacoustic Music

Part IV Recordings and the New Aura

13 Vincenzo Caporaletti Neo-auratic Encoding: Phenomenological Framework andOperational Patterns

14 Dietrich Helms ‘If a Song Could Get Me You’: Analysis and the(Pop) Listener’s Perspective

15 Mark Katz The Persistence of Analogue

Part V Composing and Performing with Electronic Means

16 Nicolas Collins Semiconducting: Making Music after the Transistor

17 Angela Ida De Benedictis ‘Live is Dead?’: Some Remarks about Live ElectronicsPractice and Listening

18 Nicolas Donin Sonic Imprints: Instrumental Resynthesis inContemporary Composition

Part VI Audiovisual Documentation in Ethnomusicological Research

19 Giovanni Giuriati New Trends in the Use of Audiovisual (and Audio)Technology in Contemporary Ethnomusicology

20 Maurizio Agamennone Recording Out-takes: What can be Discovered in the‘Historical’ Recordings of Traditional Music

21 Nicola Scaldaferri Audiovisual Ethnography: New Paths for Research and Representation in Ethnomusicology

Index

About the Editor

Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice. In 1999 he was awarded the Dent Medal by the Royal Musical Association. In 2013, he was Distinguished Visiting Professor at The Italian Academy for Advanced Studies in America. His publications deal with several aspects of the music of the twentieth century, including theory, aesthetics, political background and the audiovisual experience; as well as the history of musical concepts and the theory of musical form. He is a Fellow of the Academia Europaea.

About the Series

Musical Cultures of the Twentieth Century

Musical Cultures of the Twentieth Century

Series Advisory Board: Robert Adlington, Esteban Buch, Mark Delaere, Giovanni Giurati, Wolfgang Rathert

The series Musical Cultures of the Twentieth Century adopts a collaborative model for the study of key issues in twentieth-century music. The basis for each volume is a conference drawing together leading scholars from across Europe and beyond; conference themes are determined by the series’ distinguished international advisory board, with a view to developing new knowledge and understanding that reflects dialogue between scholars of different nationalities and theoretical backgrounds. Particular emphasis is placed upon recognition of the multiplicity of conceptions, artefacts, events and communities which characterised musical life in the last century. Accordingly, individual volumes seek to interrogate themes that encompass diverse musical genres and disciplinary perspectives.

The series was conceived as a project of the Institute of Music of the Giorgio Cini Foundation, Venice, where many of the conferences are convened.

Learn more…

Subject Categories

BISAC Subject Codes/Headings:
MUS015000
MUSIC / Ethnomusicology
MUS032000
MUSIC / Recording & Reproduction