How Music Dies (or Lives): Field Recording and the Battle by Ian Brennan

By Ian Brennan

Contributor note: Corin Tucker (Forward)

All recordings rfile lifestyles, bobbing up from a selected time and position, and if that position is man made, the consequences can be besides. Culled from a life of studying via failure and designed to impress concept and proposal for artists in each medium, How song Dies (or Lives) is a digital how-to handbook for these on a quest for authenticity in an age of airbrushed and Auto-Tuned so-called “artists.”

Author and Grammy-winning manufacturer Ian Brennan chronicles his personal trips to discover new and historical sounds, textured voices, and nonmalleable songs, and he offers readers with an tricky examine our technological society.

His concise prose covers subject matters such as:
•The damages of colonization in generalizing specified variations
•The desire for imperfection
•The gaps among production and invention
•The saturation of track in daily life

This consultant serves those that ask themselves, “What’s incorrect with our culture?” in addition to attainable solutions are classes in utilizing the microphone as a telescope, listening to the earth as an echo, and appreciating the worth of democratizing voices.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

Extra resources for How Music Dies (or Lives): Field Recording and the Battle for Democracy in the Arts

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Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-24 36 37 This, of course, still suggests a primarily physiological and evolutionary account of musical response. Like Sully, Gurney was more concerned to take issue with Spencer’s schematic correlations of language and musical expression than with his evolutionary analysis of music’s origins, or his identification of a common physical basis for emotional and musical response. 162 Gurney was, in fact, convinced that the expressive sound from which music originated long preceded speech and the intellectual conceptions which accompanied it.

There were continual developments in instrument-building and this, of course, was a period before any widespread revival of Baroque music when performance practice favoured recently composed works. 71 The advance of music was readily perceived to mirror the evolution of the human faculties in general. 72 In the 1870s, the Reverend Hugh Haweis was to proclaim in his Music and Morals that ‘Music, as distinguished from the various rude attempts of the past, is only about four hundred years old. 73 Such views were long-standing.

Numerous responses to Spencer’s work cite this same phrase from Jean Paul to describe music’s effects. The conception of the musician as possessing superior emotional sensibilities was of course widely to be found in Romantic literature. The idea is frequently alluded to by composers themselves: in Beethoven’s claims for the special status of the musical artist in his Heiligenstadt Testament, in the writings of E. T. A. 95 Spencer’s view of the musician stressed the greater sympathetic and moral capacity which creative sensitivity conferred, so emphasising the artist’s crucial role in society rather than the glorious isolation which apparently accompanied the Romantic view of artistic status.

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