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Download Absolute Music, Mechanical Reproduction by Arved Ashby PDF

By Arved Ashby

Recordings at the moment are the first method we listen classical song, specifically the extra summary sorts of “absolute” instrumental tune. during this unique, provocative publication, Arved Ashby argues that recording expertise has reworked our figuring out of paintings track. Contesting the laments of nostalgic critics, Ashby sees recordings as socially revolutionary and tools of a musical vernacular, but in addition unearths that recording and absolute track truly contain comparable notions of removal sound from context. he's taking inventory of technology's effect on classical track, addressing the questions on the middle of the problem. This erudite but concise examine finds how mechanical copy has reworked classical musical tradition and the very act of listening, breaking down aesthetic and generational boundaries and combining classical song into the soundtrack of daily life.

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They have fragmented authority invested in the work and inspired a kind of sola musica movement wherein “the word of Beethoven” became liberated from increasingly institutionalized and rule-driven ideas of performance. ) According to such a recordingreformationist viewpoint, the question isn’t whether a performer should observe a crescendo in the score, but instead centers on the issue of just what the crescendo means within the reality of a specific performance of a specific piece. Recordings have widened the field of possibility here, perhaps suppressing some attentiveness, as Schuller claims, but certainly doing more to make musicians sensitive to the question of just how many different ways a crescendo can unfold.

Kramer summarizes these episodes: “In their use of this music, these films provide a model of creative listening, listening with both music and meaning in mind. ”66 This scenario feels simply wrong to me, for music’s pleasures of discovery are so scaldingly immediate, so of the moment and the marrow, that they could hardly depend on seeds and germination or hinge on triumphs of compositional meaning. If I were to cede Kramer his interest in works, I might reply with the assertion that compositions change alongside their manners of understandability, the two developing and aiming their own latencies toward the present.

He then asks how people should relate to art—and more specifically to artworks themselves—at a time when it is easy to make multiple more-or-less identical copies of them, in short when the aura has dissipated or becomes irrelevant. Benjamin looked back to a time when art was, as a matter of course, explicitly or implicitly connected with religious observance and ideas of the sacred, and he asked what happens when such art not only survives into a secular age but is replicated at the demand of late capitalism.

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