Sound recording and the operatic canon

2020 ◽  
pp. 494-508
Author(s):  
Karen Henson
Keyword(s):  
Classical Music ◽  
Sound Recording ◽  
New Techniques ◽  
Electrical Recording ◽  
The Third ◽  
New Form

This chapter considers three moments in the long relationship between sound recording and operatic canon. In the first, around 1902, the American Victor Talking Machine Company used the acoustically-recorded voice of the tenor Enrico Caruso to help “canonize” (or lend respectability to) what was then a very new form of entertainment. In the second, in the 1920s, Victor and its rival Columbia exploited the new techniques of electrical recording to make recordings of Wagner, and these and other recordings were marketed as part of a larger canon of classical-music “Masterpieces.” In the third, around 1952, newcomer EMI used tape and LP technology to produce one of the first large bodies of complete opera recordings, many of them featuring the soprano Maria Callas and an expanded Italian canon, from Pergolesi to Menotti. This chapter is paired with Hugo Shirley’s “Opera on film and the canon.”

The Take and the Stutter: Glenn Gould's Time Synthesis

2015 ◽  
Vol 9 (4) ◽  
pp. 558-577
Author(s):  
Mickey Vallee
Keyword(s):  
Sensory Experience ◽  
Sound Recording ◽  
Deleuze And Guattari ◽  
Concert Hall ◽  
The Third ◽  
Passive Synthesis ◽  
Recording Studios ◽  
Recorded Performance

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.

The Macroform in Post-Tonalmusic. Listening and Analysis

2003 ◽  
Vol 7 (2) ◽  
pp. 219-240 ◽  
Author(s):  
Mario Baroni
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Extreme Points ◽  
Musical Time ◽  
The Third ◽  
The Past ◽  
Hierarchical Levels ◽  
Twentieth Century Music ◽  
Recorded Performance ◽  
A Performance

Form in classical music is fundamentally a question of organising musical time in order to facilitate a listening corresponding to author's expectations. In the past this was obtained by coordinating different parameters towards a single goal. In twentieth century music, the more detached relationship between the composer and the listener meant that less importance was given to the idea of “correct” listening and to the coordination of parameters. This article is devoted to one of the extreme points in this process: A quartet by Bruno Maderna composed in 1956 under the influence of the ideologies of Darmstadt. The quartet was examined by three different groups of analysts. The first group examined the score of the quartet, while the third group only had a recorded performance at its disposal; the second group analyzed both the score and the performance. The three groups had to describe the form of the piece in terms of three hierarchical levels: Its microform {i.e. the organisation of minimal units not divisible into smaller parts); its macroform (i.e. its division into the minimum possible number of parts); the medium form {i.e. a collection of minimal units that could also be interpreted as an acceptable division of the parts at a macroformal level). Two basic criteria were used: Segmentation (local parametric discontinuity between two adjacent parts) and similarity (coherence between the parameters within each part). The results of the three analyses were somewhat diverse, thus demonstrating the tendency to relax the sense of form in such a quartet, as well as the presence of different procedures used when listening to a performance and analysing a score.

scholarly journals The Changing Role of Marketing in the Third Millennium

2017 ◽  
Vol 7 (1) ◽  
pp. 39
Author(s):  
Reshma Sreedharan ◽  
Rehin KR
Keyword(s):  
Competitive Advantage ◽  
Dynamic Environment ◽  
New Techniques ◽  
The Third ◽  
Third Millennium ◽  
Changing Role ◽  
New Millennium

<div><p><em>In the 21<sup>st</sup> century, any marketer has to face stiff competition due to the dynamic environment. Nowadays, marketers are offering more value to the customers so that they can gain a competitive advantage. The present customers are now digitally conscious and are opposing the traditional way of marketing. The marketers have to identify the new techniques which can be used to target the new millennium customers and earn sizeable profits. This paper focuses on the emerging marketing trends and its repercussions.<strong></strong></em></p></div>

scholarly journals CYBERBULLYING AND PUBLIC POLICY: AN EVOLUTIONARY PERSPECTIVE

2015 ◽  
Vol 1 ◽  
Author(s):  
Chris Berg
Keyword(s):  
Public Policy ◽  
Evolutionary Economics ◽  
Social Activity ◽  
Civil Liability ◽  
Evolutionary Perspective ◽  
Social Responses ◽  
The Third ◽  
New Form

This article is a comment on Peta Spyrou’s article in this volume entitled ‘Civil Liability for Negligence: An Analysis of Cyberbullying Policies in South Australian Schools’. It considers three aspects of the problem: the first focuses on the implications of the fact that  cyberbullying is not a new form of social activity but is rather a new form of bullying; the second explores some of the possible policy and social responses to the problem; and the third draws from the insights of evolutionary economics and underlines the importance of respecting the rights of children both to be protected from bullying as well as to develop their identities.

Psalmodic Adaptation as Musical Translation

2020 ◽  
pp. 194-254
Author(s):  
Peter Mercer-Taylor
Keyword(s):  
Classical Music ◽  
Art Music ◽  
Common Source ◽  
Low Level ◽  
The Third ◽  
One To One

The psalmodic adaptation of classical music constitutes a distinctive creative act in instances in which we find adapters not simply importing excerpts essentially unchanged (a chiefly curatorial service), but making substantive musical decisions to bridge the gap dividing art music from psalmody. This chapter explores such “translational actions,” unfolding in four phases. The first concerns low-level decisions, involving rhythm, ornamentation, and texture. The second centers on syntactic challenges that arise in drawing brief excerpts from larger works (negotiating European passages that begin and end in different keys, for instance). The third focuses on “purposeful substitution”: the replacement of musical effects inappropriate to psalmody with wholly different effects calculated to achieve comparable goals. The fourth explores adaptations that challenge the very notion of a one-to-one correspondence between “excerpt” and “psalm tune”: tunes that draw on more than one European movement, say, or adjacent pairs of tunes drawn from a common source.

scholarly journals Interferometer Sensing and Control for the Advanced Virgo Experiment in the O3 Scientific Run

Galaxies ◽  
2020 ◽  
Vol 8 (4) ◽  
pp. 85
Author(s):  
Annalisa Allocca ◽  
Diego Bersanetti ◽  
Julia Casanueva Diaz ◽  
Camilla De Rossi ◽  
Maddalena Mantovani ◽  
...  
Keyword(s):  
Gravitational Waves ◽  
Laser Interferometer ◽  
Control Strategies ◽  
New Techniques ◽  
Binary Neutron Star ◽  
2Nd Generation ◽  
The Third ◽  
Binary Black Hole ◽  
One Year ◽  
And Control

Advanced Virgo is a 2nd-generation laser interferometer based in Cascina (Italy) aimed at the detection of gravitational waves (GW) from astrophysical sources. Together with the two USA-based LIGO interferometers they constitute a network which operates in coincidence. The three detectors observed the sky simultaneously during the last part of the second Observing Run (O2) in August 2017, and this led to two paramount discoveries: the first three-detector observation of gravitational waves emitted from the coalescence of a binary black hole system (GW170814), and the first detection ever of gravitational waves emitted from the coalescence of a binary neutron star system (GW170817). Coincident data taking was re-started for the third Observing Run (O3), which started on 1st April 2019 and lasted almost one year. This paper will describe the new techniques implemented for the longitudinal controls with respect to the ones already in use during O2. Then, it will present an extensive description of the full scheme of the angular controls of the interferometer, focusing on the different control strategies that are in place in the different stages of the lock acquisition procedure, which is the complex sequence of operations by which an uncontrolled, “free” laser interferometer is brought to the final working point, which allows the detector to reach the best sensitivity.

scholarly journals Happy Epiphany

Philosophy ◽  
1982 ◽  
Vol 57 (219) ◽  
pp. 1-2
Keyword(s):  
Old Age ◽  
Good Work ◽  
The Third ◽  
Science Philosophy ◽  
New Ideas ◽  
New Form ◽  
New Applications

In the days before the Third Programme changed its name and nature to those of Radio 3, there were occasional broadcast discussions by a group called the Epiphany Philosophers. Since 1966 they have been publishing a journal whose title and sub-title point to the large questions with which the group has continued to be concerned: Theoria to Theory: An International Journal of Science, Philosophy and Contemplative Religion. The editors are conscious of the risks but also of the need to take them:‘We are not now seen as so “way out” as we used to be, because more people are realizing that one has got to go “way out”, and that what is “in” is culturally more dated than some powerful forces would have us believe’. The latest issue (June 1981) is also to be the last, though there is hope of continuing the good work in other ways. The journal itself may be revived ‘in a new form as a much cheaper production’ (the current subscription is £30 for a volume of four issues of 88 pages). There is also a plan under which the publishers, Gordon and Breach, will publish a series of books designed to ‘promote the exploration of new ideas and new applications in philosophy and science through continuing co-operation between philosophers and scientists in different disciplines’. Among the halfpromised volumes is one on The Athletics of Old Age, ‘seen as a spiritual as well as a mental and physical matter’. Others are Revisionary Metaphysics and Revisionary Science, What is Wrong with Contemporary Physics? and How can we move beyond Neo-Darwinism in Biology?.

Making and Hearing Virtual Worlds: John Culshaw and the Art of Record Production

2007 ◽  
Vol 11 (2) ◽  
pp. 269-293 ◽  
Author(s):  
David N. C. Patmore ◽  
Eric F. Clarke
Keyword(s):  
Virtual Worlds ◽  
Classical Music ◽  
Traditional Approach ◽  
Subject Position ◽  
Sound Recording ◽  
Technical Approach ◽  
Starting Point ◽  
The Relationship ◽  
Current Paradigm ◽  
Radical Approach

A recording represents a paradoxical perceptual source: we can either attend to the sound of the medium, or to the virtual world conveyed by it, and the work of a record producer can be understood as either a process of capturing performances or one of creating virtual worlds. This paper demonstrates that the record producer John Culshaw had clear ideas about how recordings might approach the condition of a work of art, rather than being simply the trace of a moment in time. Culshaw's fundamental aesthetic and technical approach is described and illustrated with reference to a number of key recordings. Taking the relationship between sound recording and film as a starting point, and making use of the concept of subject-position, the tension between Culshaw's radical approach to the listener and traditional approach to the authority of the score is explored. Possible reasons are proposed for the abandonment of his ideas, and for the absence of a Culshaw legacy (apart from the recordings themselves). The paper ends with a brief discussion of the current paradigm for the recording of classical music, which seeks in various ways to reproduce “the live experience” in “the finest seat in the house”.

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