By Steve Savage
From Attali’s “cold social silence” to Baudrillard’s hallucinatory truth, reproduced song has lengthy been the objective of serious assault. Steve Savage, although, deploys an leading edge blend of designed recording initiatives, ethnographic stories of latest track perform, and significant research to problem lots of those conventional attitudes concerning the construction and reception of song. Savage adopts the thought of “repurposing” as relevant to figuring out how each element of musical task, from production to reception, has been remodeled, arguing that the strain inside construction among a naturalizing “art” and a self-conscious “artifice” displays and feeds into our evolving notions of creativity, authenticity, and community.
Three unique audio tasks shape a vital part of the paintings, drawing from rock & roll, jazz, and conventional African track. via those tasks, Savage is ready to aim components of up to date perform which are fairly major within the cultural evolution of the musical event from the viewpoint of composers, musicians, and listeners. This paintings stems from Savage’s adventure as a qualified recording engineer and checklist producer.
“Instead of focusing exclusively on criminal points, as many authors have performed, Savage takes the time to review not just how applied sciences have altered the best way we make and eat track, but in addition how expertise pertains to tradition. This stability among ‘empirical’ and ‘critical’ ways is powerful.”
— Serge Lacasse, Université Laval
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Extra info for Bytes and Backbeats: Repurposing Music in the Digital Age (Tracking Pop)
Introduction the complete battery of recordists that the broadest understanding of the making of popular recordings might be obtained. The Evolution of Recording Technology Audio recording changed the basic relationships between music and culture that had evolved with the oral and notational forms of musical recordkeeping. Scores had separated music and performance, but only for those who could read them. Recordings allowed the general public’s reception of music to be dislocated from its performance, and over time recordings came to occupy the lion’s share of musical sound occurrences in the world.
Some artists prefer a drum track that pushes the beat, where the drums tend to land slightly ahead of the metronomic pulse (more exciting or more nervous, depending on one’s point of view) and some artists prefer a drummer that lays the beat behind the click track (heavy or “grooving,” though again, subject to some subjective interpretation). Although much of the work analyzing PDs has been motivated by programming considerations, it has served to guide many musical performances as well. This is a typical example of technologies working on both sides of the spectrum—from the traditionally technological back to the more traditionally performative.
That is to say that Gritten’s “traces of the act” may be understood in technological terms—as a part of the postrecording process whereby music is the result—in the same way that he describes them in the terms of live musical production. New technologies continue to participate in music’s ability to express new kinds of content. The fact that there is no music without technology (instruments) or technique (voice) undermines the conservative forces that have sought to minimize the qualities of musicianship and the creative forces of composition that are dependent on the technologies of recording.