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Record Nr. |
UNINA9910808751903321 |
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Autore |
Ashby Arved Mark |
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Titolo |
Absolute music, mechanical reproduction [[electronic resource] /] / Arved Ashby |
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Pubbl/distr/stampa |
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Berkeley, : University of California Press, c2010 |
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ISBN |
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9786612697661 |
0-520-94569-7 |
1-282-69766-8 |
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Descrizione fisica |
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1 online resource (333 pages) |
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Disciplina |
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Soggetti |
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Absolute music |
Sound recordings - Social aspects |
Music - Philosophy and aesthetics |
Performance practice (Music) - History - 20th century |
Music and technology |
Sound - Recording and reproducing - Digital techniques |
MP3 (Audio coding standard) - Social aspects |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references (p.299-308) and index. |
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Nota di contenuto |
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The recorded musical text -- Recording, repetition, and memory in absolute music -- Schnabel's rationalism, Gould's pragmatism -- Digital mythologies -- Beethoven and the iPod Nation -- Photo/phono/porno -- Mahler as imagist. |
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Sommario/riassunto |
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Recordings are now the primary way we hear classical music, especially the more abstract styles of "absolute" instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This erudite yet concise study reveals how mechanical reproduction has |
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