By Mark Katz
Absolutely revised and up-to-date, this new version of Mark Katz's award-winning textual content provides assurance of mashups and Auto-Tune, explores fresh advancements in file-sharing, and comprises an improved end and bibliography.
Find illustrative sound and picture clips www.ucpress.edu/go/capturingsound
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Extra resources for Capturing Sound: How Technology Has Changed Music (Revised Edition)
25 Even when recordings aren’t winging their way across vast expanses, they can move easily within our daily lives, detaching music from its traditional times, venues, and rituals. Not all were sanguine about the new possibilities the technology allowed. M. ”26 Of course, ragtime blasting from the neighbor’s Victrola in the wee hours might simply have been regarded as a nuisance. But the resistance to other new ways of experiencing music cannot be similarly explained. Consider a different listening habit made practicable in the age of the phonograph.
Listeners do not typically understand the lyrics, and any dances originally connected with those genres are severed from the music. Yet the music is deeply meaningful to Cartagenos, and is central to the pleasures and experiences of picó culture. As the picó demonstrates, while recorded music is often decoupled from its origins in space and time, this “loss” begets a contextual promiscuity that allows music to accrue rich and unexpected new meanings. Globetrotting recordings have also been deeply meaningful to composers and have changed, and even started, many careers.
55 One such nuance was actually an error: in m. 9 of the first movement (0:34 in the recording), the violinist accidentally plucks his open E string. Though I knew the plucked E to be a mistake, I came to expect it not only when listening to Heifetz’s recording but whenever hearing the work, even in concert. In fact, I would be a bit surprised and even disappointed when I did not hear that E. Though I knew better, on a certain level I regarded that wayward note as part of the piece. Expectations can also be raised by sounds that originate not from a performance at all, but from defects in playback equipment or individual recordings.