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Absolute music, mechanical reproduction /
Recordings are now the primary way we hear classical music, especially the more abstract styles of "absolute" instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nosta...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Berkeley :
University of California Press,
©2010.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Ashby, Arved Mark. | |
| 245 | 1 | 0 | |a Absolute music, mechanical reproduction / |c Arved Ashby. |
| 260 | |a Berkeley : |b University of California Press, |c ©2010. | ||
| 300 | |a 1 online resource (xii, 317 pages) : |b illustrations, music | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 504 | |a Includes bibliographical references (pages 299-308) and index. | ||
| 505 | 0 | |a The recorded musical text -- Recording, repetition, and memory in absolute music -- Schnabel's rationalism, Gould's pragmatism -- Digital mythologies -- Beethoven and the iPod Nation -- Photo/phono/porno -- Mahler as imagist. | |
| 520 | |a Recordings are now the primary way we hear classical music, especially the more abstract styles of "absolute" instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart. | ||
| 588 | 0 | |a Print version record. | |
| 546 | |a English. | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 600 | 1 | 0 | |a Gould, Glenn |x Criticism and interpretation. |
| 600 | 1 | 0 | |a Schnabel, Artur, |d 1882-1951 |x Criticism and interpretation. |
| 600 | 1 | 7 | |a Gould, Glenn |2 fast |
| 600 | 1 | 7 | |a Schnabel, Artur, |d 1882-1951 |2 fast |
| 650 | 0 | |a Absolute music. | |
| 650 | 0 | |a Sound recordings |x Social aspects. | |
| 650 | 0 | |a Music |x Philosophy and aesthetics. | |
| 650 | 0 | |a Performance practice (Music) |x History |y 20th century. | |
| 650 | 0 | |a Music and technology. | |
| 650 | 0 | |a Sound |x Recording and reproducing |x Digital techniques. | |
| 650 | 0 | |a MP3 (Audio coding standard) |x Social aspects. | |
| 650 | 6 | |a Musique pure. | |
| 650 | 6 | |a Musique |x Philosophie et esthétique. | |
| 650 | 6 | |a Pratique de l'exécution (Musique) |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Musique et technologie. | |
| 650 | 6 | |a MP3 (Norme de codage audio) |x Aspect social. | |
| 650 | 7 | |a MUSIC |x Recording & Reproduction. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Genres & Styles |x Classical. |2 bisacsh | |
| 650 | 7 | |a Absolute music |2 fast | |
| 650 | 7 | |a Music and technology |2 fast | |
| 650 | 7 | |a Music |x Philosophy and aesthetics |2 fast | |
| 650 | 7 | |a Performance practice (Music) |2 fast | |
| 650 | 7 | |a Sound |x Recording and reproducing |x Digital techniques |2 fast | |
| 650 | 7 | |a Sound recordings |x Social aspects |2 fast | |
| 648 | 7 | |a 1900 - 1999 |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 655 | 7 | |a History |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Ashby, Arved Mark. |t Absolute music, mechanical reproduction. |d Berkeley : University of California Press, ©2010 |z 9780520264793 |w (DLC) 2009040742 |w (OCoLC)449860806 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.1525/j.ctt1pn8wv |z Texto completo |
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