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"Musical recordings"
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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
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
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
Statistical universals reveal the structures and functions of human music
Music has been called âthe universal language of mankind.â Although contemporary theories of music evolution often invoke various musical universals, the existence of such universals has been disputed for decades and has never been empirically demonstrated. Here we combine a music-classification scheme with statistical analyses, including phylogenetic comparative methods, to examine a well-sampled global set of 304 music recordings. Our analyses reveal no absolute universals but strong support for many statistical universals that are consistent across all nine geographic regions sampled. These universals include 18 musical features that are common individually as well as a network of 10 features that are commonly associated with one another. They span not only features related to pitch and rhythm that are often cited as putative universals but also rarely cited domains including performance style and social context. These cross-cultural structural regularities of human music may relate to roles in facilitating group coordination and cohesion, as exemplified by the universal tendency to sing, play percussion instruments, and dance to simple, repetitive music in groups. Our findings highlight the need for scientists studying music evolution to expand the range of musical cultures and musical features under consideration. The statistical universals we identified represent important candidates for future investigation.
Which features of music are universal and which are culture-specific? Why? These questions are important for understanding why humans make music but have rarely been scientifically tested. We used musical classification techniques and statistical tools to analyze a global set of 304 music recordings, finding no absolute universals but dozens of statistical universals. These include not only commonly cited features related to pitch and rhythm but also domains such as social context and interrelationships between musical features. We speculate that group coordination is the common aspect unifying the cross-cultural structural regularities of human music, with implications for the study of music evolution.
Journal Article