By Steve Savage
From Attali’s “cold social silence” to Baudrillard’s hallucinatory fact, reproduced song has lengthy been the objective of severe assault. Steve Savage, despite the fact that, deploys an leading edge mix of designed recording initiatives, ethnographic stories of latest tune perform, and significant research to problem a lot of those conventional attitudes concerning the production and reception of tune. Savage adopts the inspiration of “repurposing” as significant to figuring out how each point of musical task, from production to reception, has been reworked, arguing that the stress inside creation among a naturalizing “art” and a self-conscious “artifice” displays and feeds into our evolving notions of creativity, authenticity, and community.
Three unique audio tasks shape an essential component of the paintings, drawing from rock & roll, jazz, and conventional African track. via those initiatives, Savage is ready to aim components of latest perform which are rather major within the cultural evolution of the musical adventure from the viewpoint of composers, musicians, and listeners. This paintings stems from Savage’s event as a certified recording engineer and list producer.
“Instead of focusing completely on felony features, as many authors have performed, Savage takes the time to review not just how applied sciences have altered the best way we make and eat song, but additionally how know-how pertains to tradition. This stability among ‘empirical’ and ‘critical’ ways is powerful.”
— Serge Lacasse, Université Laval
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Additional info for Bytes and Backbeats: Repurposing Music in the Digital Age (Tracking Pop)
The vocabulary of music is as much wrapped up in digital technology now as it was in previous times with new instruments or new cross-cultural in›uences. And these new kinds of musical content are not to be understood as cold, objective applications based on some kind of mathematical treatment. ”19 So even the most audacious forms of contemporary manipulation of audio data are not to be completely divorced from the technology of musical instruments or of live sound production. That is to say that Gritten’s “traces of the act” may be understood in technological terms—as a part of the postrecording process whereby music is the result—in the same way that he describes them in the terms of live musical production.
It is the technology that is needed to produce the audio preservation of music, just as ›utes, pianos, and the like were the needed technology to produce the sound of music. However, it is not the case that live performance remains the arena of music unaffected by the technology of audio recording. 13 Technology not directly connected to the musical act manipulates and mediates virtually all music in contemporary culture—both live and recorded. The musical object is already a product of technology, its “trace” left not only by the act but by the mediation of technology as well.
He maintains that the authority of original art objects is jeopardized by reproduction and that the result is a decay of “aura” in society as a whole. ”22 At this point Benjamin surprises. What has seemed a clear bias toward the negative impact of mechanical reproduction shifts on this issue of ritual. For Benjamin, what begins as ritual steeped in magic, and becomes religion, is the enslaver of art. The tone shifts abruptly and he reveals two radical and important concepts: “for the ‹rst time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual.