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Capturing Sound: How Technology Has Changed Music (Revised by Mark Katz

Posted On March 23, 2017 at 4:48 am by / Comments Off on Capturing Sound: How Technology Has Changed Music (Revised by Mark Katz

By Mark Katz

Totally revised and up-to-date, this new version of Mark Katz's award-winning textual content provides insurance of mashups and Auto-Tune, explores fresh advancements in file-sharing, and comprises an elevated end and bibliography.

Find illustrative sound and movie clips www.ucpress.edu/go/capturingsound

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Additional info for Capturing Sound: How Technology Has Changed Music (Revised Edition)

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11 Clearly, record collecting involves more than music. Collecting is about the thrill of the hunt, the accumulation of expertise, the display of wealth, the synesthetic allure of touching and seeing sound, the creation and cataloging of memories, and the pleasures and dangers of ritual. 12 The relative affordability of these musical objects is also significant, and has affected all types of listeners, whether the sweaty-palmed disc junkie or the casual consumer. Recordings are often (though not always) cheaper than tickets for concerts of the same fare, and their affordability may affect listeners’ access to music.

Owners take great pride in their fancifully adorned picós, which they often parade through their communities in the back of pickup trucks, competing with one another to display the loudest, most extravagant system. Although the picó is native to Cartagena, the music it plays is not. The records, having arrived with traveling sailors, are mostly of African and Afro-Caribbean genres whose sound and language are foreign to coastal Colombia. Listeners do not typically understand the lyrics, and any dances originally connected with those genres are severed from the music.

Seeing was indeed believing. In fact, this had always been true, as the musicologist Richard Leppert makes clear in The Sight of Sound: “Precisely because musical sound is abstract, intangible, and ethereal—lost as soon as it is gained—the visual experience of its production is crucial . . 33 Although unremarkable today, this was once a source of great anxiety. As an English music critic explained in 1923, some listeners “cannot bear to hear a remarkably life-like human voice issuing from a box.

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