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UID:193-486@www.smg-ssm.ch
CLASS: PUBLIC
SUMMARY:Venerio Rizzardi (Venedig) Phonographic music and the “imaginary performance”
DESCRIPTION:The received assumption that the sound recording is basically a
  documentation of a certain performance has been recently put in question w
 ithin the framework of the growing interest in sound studies. What we call 
 a record is indeed an entirely constructed artefact. Intrinsic technical li
 mitations of the medium, such as the maximum duration of a few minutes on e
 ach record side and, especially in the acoustical era (up to the late 1920s
 ), poor frequency response and dynamic level, and also the discomforts of t
 he recording sessions, have strongly conditioned the attitude of the artist
 s toward the record, at the point that this has necessarily resulted in a s
 ubstantially different musical product than the live performance. This fact
  has had distinctive consequences within different repertoires such as the 
 written music of the Western canon, or jazz and popular music. Subsequently
 , when the previous limitations were removed and finally, after 1950, the r
 ecording artist could take advantage of far more flexible technologies, not
 ably the magnetic tape, an entirely different way of dealing with the recor
 ding took place, which didn’t primarily aim at an improvement in the „fidel
 ity“ to the live performance, yet on the opposite set higher and higher lev
 els of artificiality.\n\nSemesterprogramm FS 2016 — 29.01.2016 PDF 479KB
LOCATION:Hörsaal 002, Institut für Musikwissenschaft, Hallerstr. 12, 3012 Bern
DTSTAMP:20190405T082842Z
DTSTART:20160412T162100Z
DTEND:20160412T162100Z
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