Country : Australia
Assignment Task :

In this chapter, Theberge explores how technology and its use has changed concepts of and approaches to music since the advent of recording technology. One of the first points made in the article is that different cultures have different conceptions of what music is – not all cultures have music notation, for example – and this is vitally important when discussing music and technology. The Western perspective is taken here, but Theberge frequently returns to matters of context.  

In considering the use of technology since the advent of recording technology, the idea of the emergence of “sound” as an important part of the overall musical aesthetic emerges. This is significant in the West, where we have moved from a culture of “the score” as being a (perhaps the?) primary text. In a score, sound is subjugated to structure, so the emergence of this sound aesthetic is a significant factor. A particularly interesting aspect of this article (an early article for this subject area in general incidentally) is discussion about how engineers and musicians talk about sound, and how important this is in understanding the development of the sound aesthetic just mentioned.  

Ultimately, Theberge makes the point that musicians and producers involved with technology in their music making process are active as both consumers and producers. One can't produce without consuming some of the technology in the first place. The complexities of the operation of capitalism emerge here, and the more ominous warnings of people such as Adorno are shown to be a good deal less planned or pre-meditated, and more a function of markets and business.  

I wonder if the material regarding the creative use/misuse of gear where Rose is quoted (p197) is a bit overstated, as such approaches to production and recording have a much longer history than this (distortion as a classic example, perhaps). Also, on p206 where the author discusses the infusion of 

past and present sounds in recordings, the issue of specific cultural, generational and geographical experiences could have been elaborated on as these are fundamental issues as to how music is perceived or “consumed”. 

 

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