Writing Music History

Goehr, Lydia

doi:10.2307/2505596

Cited by 20 publications

(15 citation statements)

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“…156 But the dualism -(1) the protected music is the perceived sounds, and (2) the score is the reified evidence of the composed musical work 157 -has features of an idealist interpretation of the 'musical work' in the philosophy of music. While the music may first exist as an idea, it must obtain objectified expression through a score or in a performance, 158 whereby the performance, being ephemeral, must itself be fixed, for example on a sound recording (which attracts copyright protection in its own right, separate from the recorded music). Imprecise and shadowy as the score is to depict the music as it is to be performed, the law uses this reification as a shorthand reference to the musical work to attach copyright protection and to turn it into a 'definite' and durationless property object.…”

Section: 2mentioning

confidence: 99%

The elements of music relevant for copyright protection

Rahmatian

2015

Concepts of Music and Copyright

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Section: 2mentioning

confidence: 99%

The elements of music relevant for copyright protection

Rahmatian

2015

Concepts of Music and Copyright

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“…The issue of authenticity is not, however, as simple as a straightforward dichotomy between performance practice and technological mediation. While recognising that technological mediation has influenced the shifting ontology of creativity in music away from the simplistic, traditional notion of the work that Goehr (1992) describes, Georgina Born ascribes contradictory tendencies that Théberge (1989) had also identified, for technological changes to both promote collaborative creative practice and to disrupt communal performance (Born 2005, pp. 25-26).…”

Section: Mediation and Performance Authenticitymentioning

confidence: 99%

The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production

Zagorski-Thomas¹

2010

Pop. Mus.

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This article will discuss how two major contributing factors, functional staging and perceived authenticity, have had and continue to have a powerful influence on the sound of record production across geographical boundaries and throughout history. Functional staging is a concept building on the idea of phonographic staging developed by William Moylan and Serge Lacasse and related to Allan Moore's ‘sound-box’. The staging of sounds in the record production process is considered to be functional if the reason for their particular placement or treatment is related to the practicalities of audience reception rather than to aesthetics. It is not a question of whether the music has a function or not but whether that function has influenced the staging of the recorded music. Thus the divergence of staging techniques used in dance music and rock music that began in the 1970s can be seen as resulting from the different functions the music was put to by the different audiences. Music that is played back through large speakers in a club for the purpose of dancing needs to maintain the clarity of the rhythmic elements and so the ‘drier’ techniques of drum and percussive instrument mixing that characterise dance music developed. Rock, however, was more frequently played back in the smaller, less ambient, home environment and so reverberation was added to simulate the atmosphere of the large-scale venue. At the same time, a variety of culturally constructed notions of authenticity have developed within different musical audiences. Why is it that Queen felt the need to inscribe ‘no synthesisers were used in the making of this album’ on their early records and yet Brian May felt entirely comfortable constructing multiple layered performance ‘patchworks’ of guitar tracks? Why might the use of one type of technological mediation be considered more or less authentic than another? Using examples taken from recordings from all around the world and from ‘art’ and ‘popular’ forms of music, this article will explore how audience-led cultural trends in recording and production practice have resulted in the particular ‘sounds’ of different recorded music genres.

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“…Elle a été, comme le prédicat "auteur", inventée. Lydia Goehr (1992) remarque avec justesse que nombre de concepts aujourd'hui en cours en Europe pour fixer et classer la musique sont tout simplement impertinents. Elle ajoute que la nouvelle conception de la musique pousse les professionnels à concevoir la musique en termes d'oeuvre.…”

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“La bibliothèque coloniale”, la propriété intellectuelle et la romance du développement en Afrique

Diawara

2014

Canadian Journal of African Studies / Revue canadienne des étud

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To cite this article: Mamadou Diawara (2014) "La bibliothèque coloniale", la propriété intellectuelle et la romance du développement en Afrique, Canadian Journal of African Studies/La Revue canadienne des études africaines, 48:3, 445-461To link to this article: http://dx. RésuméOn se demande vigoureusement les conditions de construction du savoir relatif au continent, ainsi qu'à la pensée africaine. L'influence de V.Y. Mudimbe à cet égard est immense. Les grandes catégories de l'anthropologie sont interrogées, voire remises en question, notamment les ethnies. Aussi pertinentes qu'elles soient, ces analyses renvoient à la bibliothèque et au système de représentation qui invente le continent et l'érigent en paradigme de la différence par excellence. Il importe, au-delà des discours savants, de jeter un regard sur le rapport des gens du commun aux bibliothèques. Les animateurs de radio par exemple commentent, candides, l'oeuvre de tel ou tel artistemusicien. L'appropriation implique le droit y afférent: droit d'auteur(e), copyright ou Urheberrecht. Qui s'en écarte devient pirate. Que signifie, alors, moderniser, l'auteur, l'oeuvre, le droit d'auteur ou le pirate dans la langue, non pas héritée du droit occidental, mais dans celle du citadin ou du villageois moyen? AbstractOne asks oneself vigorously about the conditions of the construction of knowledge relative to the African continent as well as to its way of thinking. The influence of V.Y. Mudimbe in this regard is immense. The major categories of anthropology are examined, even called into question, and most notably the ethnic groups. As pertinent as they may be, these analyses return to the library and to the system of representation that the continent invents and raise it to a paradigm of difference par excellence. It is important, beyond the scholarly discourse, to take a look at the relationship of ordinary people with libraries. Broadcasters, for example, comment candidly on the work of one artist-musician or another. Appropriation implies the related right: "droit d'auteur (e)", copyright or "Urheberrecht". Anyone who fails to comply becomes a pirate. What, therefore, is the meaning of to modernise the author, the work, the copyright or the pirate not in language inherited from Western law but in that of the citizen or the average villager?Mots-clé: Bibliothèque coloniale; propriété intellectuelle; histoire du droit d'auteur; biens immatériels; épistémè; développement; musique Noire étasunienne et musique africaine; économie du spectacle; moderniser la musique; cadre normatif de production musicale

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Writing Music History

Cited by 20 publications

References 0 publications

The elements of music relevant for copyright protection

The elements of music relevant for copyright protection

The stadium in your bedroom: functional staging, authenticity and the audience-led aesthetic in record production

“La bibliothèque coloniale”, la propriété intellectuelle et la romance du développement en Afrique

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