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Music and technology : a very short introduction
\"This Very Short Introduction takes an expansive and inclusive approach meant to broaden and challenge traditional views of music and technology. In its most common use, \"music technology\" tends to evoke images of twentieth and twenty-first century electronic devices: synthesizers, recording equipment, music notation software, and the like. This volume, however, treats all tools used to create, store, reproduce, and transmit music--new or old, electronic or not--as technologies worthy of investigation. All musical instruments can be considered technologies. The modern piano, for example, is a marvel of keys, hammers, strings, pedals, dampers, and jacks; just the sound-producing mechanism, or action, on a piano has more than 50 different parts. In this broad view, technology in music encompasses instruments, whether acoustic, electric, or electronic; engraving and printing; sound recording and playback; broadcasting; software; and much more. This volume challenges the view that technology is unnatural, something external to music. It was sometimes said in the early twentieth century that so-called mechanical music (especially player pianos and phonographs) was a menace to \"real\" music; alternatively, technology can be freighted with utopian hopes and desires, as happens today with music streaming platforms. Positive or negative, these views assume that technology is something that acts upon music. By contrast, this volume characterizes technology as an integral part of all musical activity and portrays traditional instruments and electronic machines as equally technological\"-- Provided by publisher.
BOOK
Recovering Sound from Metal Discs: Reconstructing the Production Process of Taiwan Columbia's Popular Songs Using Unreleased Recordings
Taiwan Columbia Sales Company was founded in 1930, and was upgraded to a stock company in 1933. Its parent company was Nipponophone Co. (Nippon Chikuonki ShĿkai or Nitchiku). Taiwan Columbia was a pioneer in producing Taiwanese popular songs, releasing the highest number of such songs during the Japanese colonial era. Therefore, reconstructing the production process of its popular music is crucial for understanding the history of that period's popular songs in Taiwan. Building upon my previous research on the recording processes of Nichiku's Taiwanese records, this article utilizes Nitchiku's unreleased metal discs that I discovered at the National Museum of Ethnology in Osaka, Japan, to reconstruct the trajectory of Taiwan Columbia's popular songs. The article first clarifies the definition of popular song as a music genre. It then reconstructs the production trajectory of Taiwan Columbia's popular song recordings from their initial stages batch by batch, summarizes the characteristics of each batch, outline
Journal Article
Stanley Donwood : there will be no quiet / Stanley Donwood ; with a number of added words by Thom Yorke
\"Widely regarded as one of the most important graphic artists of his generation, Stanley Donwood is the man behind Radiohead's signature, yet ever-evolving, visual aesthetic. His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work--whether an album cover, promotional piece, or a personal project--and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood's creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.\"--Amazon.com
Book
Forgotten Spring: The Early Lieder of Fanny Hensel
Another exceptionally moving song is \"Die Linde,\" with a text by the composer's sister-in-law, Luise Hensel. The program notes by Professor Rodgers offer a thorough and illuminating introduction to Hensel and the place of composition in her life. [...]there is a poignant painting on the recording's cover in which we see the figure of a woman with her back to us, standing at an open window and staring out at the world.
Journal Article
