Digital Recording and the Reconfiguration of Music as Performance

Abstract

Digital technologies are transforming the lived experience of music in ways that may recon- figure relations between creators, mediators, and publics. Many uses of recorded popular music in the 20th century emphasized the canonical character of recordings rather than the performative nature of music making; it was no longer necessary to make music or be around musicians to hear music. Recently, digital technologies and their attendant creative practices have allowed for the reemergence of musical works as practices rather than objects. This article examines the experiences of musicians and audio technicians in a music technology program at a rural Canadian university.

Music students’ perception of the use of multi-media technology at the graduate level in hong kong higher education

“…First, most participants agreed that Power-point software, graphic animation and audio-visual resources and other educational technologies could promote more effective music learning by rendering abstract ideas and concepts more intelligible (e.g., Airy & Parr, 2001;Gall & Breeze, 2005;Hugill, 2005;Marontate, 2005). All the positive feedback from this study shows that the use of multimedia materials was very helpful in making students learn efficiently and effectively.…”

“…Writing music using software packages has been shown to be an educational aid to student composition (e.g., Airy & Parr, 2001;Gall & Breeze, 2005;Manzolli & Verschure, 2005). The internet is used to explore new methods of music making, composition, and performance, along with the analysis and discussion of compositional and cultural matters related to digital music and culture among school students, university students, and musicians (Hugill, 2005;Marontate, 2005;Thompson, 1999). Other studies maintain that global communication technology has offered a major contribution to music education by unlocking our musical knowledge, and by encouraging creative thinking in educational arenas other than performance-based ones (Bauer, Reese, & McAllister, 2003;Mansfield, 2005;Webster, 2000).…”

Sound, materiality and embodiment challenges for the concept of ‘musical expertise’ in the age of digital mediatization

“…Moreover, the musical material typically stems from very different cultural sources that do not necessarily adhere fully to the Western European art music tradition (North and Hargreaves, 2007;Schäfer and Sedlmeier, 2009). Often, the music listened to is not even a recording of an original live performance -for example, the genres of electronic dance music (EDM) or electro-acoustic music typically rely on complex electronic post-processing of sounds re-sampled from prior recordings, on non-instrumental sounds generated by field recordings or on completely synthetic sounds (Leyshon, 2009;Marontate, 2005;Prior, 2008;Rodgers, 2004;Théberge, 2001). Finally, due to the invention of mobile audio and multimedia gadgets, music may nowadays can be received and played back with very different material media technologies under different acoustical conditions at very different places and in different social contexts (Greasley and Lamont, 2011;Krause et al, 2015;Lepa, 2013).…”

The use of sequencer tools during the composition process: A field study

“…Mastery of computer science allows us to use sound and music like authentic experts' (Romero 2004: 29). 0 Analysis of the impact on the music industry: digital technologies and the creative practices associated with them are transforming the lived experience of music in ways that have the potential to radically reconfigure the relationship between creators, mediators (e.g., record companies) and the public (Marontate 2005 0 Research on cooperative composition and learning processes: taking as a reference several works in the field of collaborative learning (King and Vickers 2007;King 2008) and informal learning (Green 2008), the conclusions of our study can help to design new tools that imply different approaches to collaborative or peer learning, as well as consider the collaborative composition process as a way to experiment and to peer learning. As Brown concludes, 'the metaphor of the computer as a musical instrument is the most powerful one in assisting the music educator to decide how best to use the computer' (2007: 10).…”