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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 of the issue. This erudite yet concise study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.

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本の長さ

317ページ
言語

英語
出版社

Univ of California Pr
発売日

2010/6/7
寸法

15.24 x 2.29 x 22.86 cm
ISBN-10

0520264800
ISBN-13

978-0520264809
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"Ashby raises crucial and often agonising issues for those who care about the marginalisation of classical music."-- "The Wire" (12/1/2010 12:00:00 AM)

"Ashby really stakes out the place of instrumental art music in a digital world, never backing away from hard questions that make us examine the very nature of musical performance itself."-- "Journal Aesthetics & Art Criticism" (8/15/2011 12:00:00 AM)

"This formidable work of scholarship . . . has the capacity dramatically to change thinking."--Andrew Green "Classical Music Magazine" (7/3/2010 12:00:00 AM)

"Compelling, insightful, [and] occasionally head-spinning. . . . [Ashby's] move between philosophy and cultural history is deft. . . . Immensely useful."--Gustavus Stadler "CRITICISM" (11/20/2012 12:00:00 AM)

"In Ashby's refreshing reading, [recordings' displacement of composers' texts] is neither a doomsday moment nor bland techno-utopianism: it's a chance to re-engage with classical music in the vernacular."-- "Times Literary Supplement" (10/15/2010 12:00:00 AM)

著者について

Arved Ashby is Professor of Music at the Ohio State University. He is the editor of The Pleasure of Modernist Music, and has published articles on twelve-tone composition, film music, minimalism, and Frank Zappa. He was an American Musicological Society (AMS) 50 Dissertation Fellow, and won the AMS Alfred Einstein Award in 1996.

登録情報

出版社 ‏ : ‎ Univ of California Pr (2010/6/7)
発売日 ‏ : ‎ 2010/6/7
言語 ‏ : ‎ 英語
ペーパーバック ‏ : ‎ 317ページ
ISBN-10 ‏ : ‎ 0520264800
ISBN-13 ‏ : ‎ 978-0520264809
寸法 ‏ : ‎ 15.24 x 2.29 x 22.86 cm

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Classical Music Recordings as History

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By focusing on the recording careers of several populist and historic classical musicians such as Glenn Gould, Herbert von Karajan and Leopold Stokowski, Arved Ashby skillfully makes a case for recordings as absolute mediums of music history. That is, recordings have become just as important and perhaps more influential, as documents, than the published manuscripts themselves.

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While the topic of the book is thought-provoking and seemingly relevant, Ashby never quite makes a definitive statement on the topic. Despite the fact that Ashby states that his intended audience is the non-musicologist, someone like his father, he style of writing is overly academic, riddled with name dropping and incessant references, as well as an obsession with Glen Gould. In all of his name dropping and use of Jargon, he misuses a literary term of Roland Barthe, "readerly text." I only noticed this because I was so entirely confused by the point of this passage that I looked up the term. This leads me to believe there are probably other misused jargon, but at some point I lost interest in looking everything up. In the first several chapters, Ashby fails to name any specific musical examples for what he is discussing leaving the reader lost and unclear. Once a reader reaches the end of the book, one still does not know where the author stands on the modernization of recording technology and the easy availability of music. If you are looking for a book that summarizes the views of hundreds of musicologists, devoid of many rich, musical examples, this book might be for you. Otherwise, steer clear. There have to be other, better books out there on the topic that do not seemingly attempt on alienate the intended audience at every turn.

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Absolute Music, Mechanical Reproduction ペーパーバック – 2010/6/7

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