Musical Listening in the Age of Technological Reproduction
Herausgeber: Borio, Gianmario
Musical Listening in the Age of Technological Reproduction
Herausgeber: Borio, Gianmario
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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. This volume offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and
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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. This volume offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and
Produktdetails
- Produktdetails
- Verlag: Jenny Stanford Publishing
- Seitenzahl: 430
- Erscheinungstermin: 12. Dezember 2019
- Englisch
- Abmessung: 232mm x 154mm x 23mm
- Gewicht: 590g
- ISBN-13: 9780367879716
- ISBN-10: 0367879719
- Artikelnr.: 58438185
- Verlag: Jenny Stanford Publishing
- Seitenzahl: 430
- Erscheinungstermin: 12. Dezember 2019
- Englisch
- Abmessung: 232mm x 154mm x 23mm
- Gewicht: 590g
- ISBN-13: 9780367879716
- ISBN-10: 0367879719
- Artikelnr.: 58438185
Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice.
Part 1 Facets of a Theoretical Question 1.Aesthetic Experience Under the
Aegis of Technology. 2. Ideological, Social and Perceptual Factors in Live
and Recorded Music. 3. On the Evolution of Private Record Collections: A
Short Story. 4. Music and Technical Reproducibility: A Paradigm Shift. 5.
Algorithmic and Nostalgic Listening: Post-subjective Implications of
Computational and Empirical Research. 6. Listening to Histories of
Listening: Collaborative Experiments in Acoustemology with Nii Otoo Annan.
Part 2 Remediations 7. Remediation or Opera on Screen? Some
Misunderstandings Regarding Recent Research. 8. Between Mediatization and
Live Performance: The Music for Giorgio Strehler's The Tempest (1978). 9.
The 'Remediated' Rite of Spring. Part 3 Listening with Images 10. Listening
to Images: A Historical Overview of Theoretical Reflection. 11. Seeing
Sounds, Hearing Images: Listening Outside the Modernist Box. 12. The
Transformation of Musical Listening: The Case of Electroacoustic Music.
Part 4 Recordings and the New Aura 13. Neo-auratic Encoding:
Phenomenological Framework and Operational Patterns. 14. 'If a Song Could
Get Me You': Analysis and the (Pop) Listener's Perspective. 15. The
Persistence of Analogue. Part 5 Composing and Performing with Electronic
Means 16. Semiconducting: Making Music after the Transistor. 17. 'Live is
Dead?': Some Remarks about Live Electronics Practice and Listening. 18.
Sonic Imprints: Instrumental Resynthesis in Contemporary Composition. Part
6 Audiovisual Documentation in Ethnomusicological Research 19. New Trends
in the Use of Audiovisual (and Audio) Technology in Contemporary Et
Aegis of Technology. 2. Ideological, Social and Perceptual Factors in Live
and Recorded Music. 3. On the Evolution of Private Record Collections: A
Short Story. 4. Music and Technical Reproducibility: A Paradigm Shift. 5.
Algorithmic and Nostalgic Listening: Post-subjective Implications of
Computational and Empirical Research. 6. Listening to Histories of
Listening: Collaborative Experiments in Acoustemology with Nii Otoo Annan.
Part 2 Remediations 7. Remediation or Opera on Screen? Some
Misunderstandings Regarding Recent Research. 8. Between Mediatization and
Live Performance: The Music for Giorgio Strehler's The Tempest (1978). 9.
The 'Remediated' Rite of Spring. Part 3 Listening with Images 10. Listening
to Images: A Historical Overview of Theoretical Reflection. 11. Seeing
Sounds, Hearing Images: Listening Outside the Modernist Box. 12. The
Transformation of Musical Listening: The Case of Electroacoustic Music.
Part 4 Recordings and the New Aura 13. Neo-auratic Encoding:
Phenomenological Framework and Operational Patterns. 14. 'If a Song Could
Get Me You': Analysis and the (Pop) Listener's Perspective. 15. The
Persistence of Analogue. Part 5 Composing and Performing with Electronic
Means 16. Semiconducting: Making Music after the Transistor. 17. 'Live is
Dead?': Some Remarks about Live Electronics Practice and Listening. 18.
Sonic Imprints: Instrumental Resynthesis in Contemporary Composition. Part
6 Audiovisual Documentation in Ethnomusicological Research 19. New Trends
in the Use of Audiovisual (and Audio) Technology in Contemporary Et
Part 1 Facets of a Theoretical Question 1.Aesthetic Experience Under the
Aegis of Technology. 2. Ideological, Social and Perceptual Factors in Live
and Recorded Music. 3. On the Evolution of Private Record Collections: A
Short Story. 4. Music and Technical Reproducibility: A Paradigm Shift. 5.
Algorithmic and Nostalgic Listening: Post-subjective Implications of
Computational and Empirical Research. 6. Listening to Histories of
Listening: Collaborative Experiments in Acoustemology with Nii Otoo Annan.
Part 2 Remediations 7. Remediation or Opera on Screen? Some
Misunderstandings Regarding Recent Research. 8. Between Mediatization and
Live Performance: The Music for Giorgio Strehler's The Tempest (1978). 9.
The 'Remediated' Rite of Spring. Part 3 Listening with Images 10. Listening
to Images: A Historical Overview of Theoretical Reflection. 11. Seeing
Sounds, Hearing Images: Listening Outside the Modernist Box. 12. The
Transformation of Musical Listening: The Case of Electroacoustic Music.
Part 4 Recordings and the New Aura 13. Neo-auratic Encoding:
Phenomenological Framework and Operational Patterns. 14. 'If a Song Could
Get Me You': Analysis and the (Pop) Listener's Perspective. 15. The
Persistence of Analogue. Part 5 Composing and Performing with Electronic
Means 16. Semiconducting: Making Music after the Transistor. 17. 'Live is
Dead?': Some Remarks about Live Electronics Practice and Listening. 18.
Sonic Imprints: Instrumental Resynthesis in Contemporary Composition. Part
6 Audiovisual Documentation in Ethnomusicological Research 19. New Trends
in the Use of Audiovisual (and Audio) Technology in Contemporary Et
Aegis of Technology. 2. Ideological, Social and Perceptual Factors in Live
and Recorded Music. 3. On the Evolution of Private Record Collections: A
Short Story. 4. Music and Technical Reproducibility: A Paradigm Shift. 5.
Algorithmic and Nostalgic Listening: Post-subjective Implications of
Computational and Empirical Research. 6. Listening to Histories of
Listening: Collaborative Experiments in Acoustemology with Nii Otoo Annan.
Part 2 Remediations 7. Remediation or Opera on Screen? Some
Misunderstandings Regarding Recent Research. 8. Between Mediatization and
Live Performance: The Music for Giorgio Strehler's The Tempest (1978). 9.
The 'Remediated' Rite of Spring. Part 3 Listening with Images 10. Listening
to Images: A Historical Overview of Theoretical Reflection. 11. Seeing
Sounds, Hearing Images: Listening Outside the Modernist Box. 12. The
Transformation of Musical Listening: The Case of Electroacoustic Music.
Part 4 Recordings and the New Aura 13. Neo-auratic Encoding:
Phenomenological Framework and Operational Patterns. 14. 'If a Song Could
Get Me You': Analysis and the (Pop) Listener's Perspective. 15. The
Persistence of Analogue. Part 5 Composing and Performing with Electronic
Means 16. Semiconducting: Making Music after the Transistor. 17. 'Live is
Dead?': Some Remarks about Live Electronics Practice and Listening. 18.
Sonic Imprints: Instrumental Resynthesis in Contemporary Composition. Part
6 Audiovisual Documentation in Ethnomusicological Research 19. New Trends
in the Use of Audiovisual (and Audio) Technology in Contemporary Et