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Author Austin, Leslie E
Title Rock music, the microchip, and the collaborative performer: Issues concerning musical performance, electronics and the recording studio
Descript 305 p
Note Source: Dissertation Abstracts International, Volume: 54-07, Section: A, page: 2375
Adviser: Peggy Phelan
Thesis (Ph.D.)--New York University, 1993
This dissertation is concerned with the intersection between musical performance and recording technology, using rock music as the primary form of music discussed. The invention and evolution of electronics and recording has profoundly affected the definition, nature, and experience of musical performance, for both performer and listener. Electronics and recording have changed what we know as music, musical sounds, and performance. Electronically mediated music is a new form of music, previously unknown to humankind. Because rock music depends on electrically powered electronic instruments for its characteristic sound and on machines to record those sounds, it is by definition an electronically mediated music. The history of recording, postmodernism, Applied Kinesiology, and Chaos Theory are used as contexts for examining these issues
The audio recording process engenders alterations in "live," linear musical performance, including its form, content, siting in time and space, and creation. Issues addressed include: the collaborative roles of producer, engineer, and recording artist; composition; performance; reproduceability; copyright; sampling; a comparison of acoustic vs. analog and digitally recorded musical sounds, and the disparity between how rock music is created and how it is presented in live concerts. In order to understand the impact of new technologies on the performing, recording, and playing of rock music, it is necessary to understand the recording process. The evolution of recording technology and musical electronics, and how each technological advancement affected musical performance in and outside the studio is closely examined. The two main contentions of the dissertation are: the recording studio process has created a new collaborative performer trio which replaces the traditional solo musical performer; and the full ramifications of this shift in musical performance on the performer and listener have not yet been carefully and fully examined
The primary research consists of an extensive survey, synthesis, and analysis of the research and literature of the fields of music, musical performance, rock music, recording technology and production, sound, acoustics, applied kinesiology, physics, and medicine. In addition, personal interviews were conducted with producers, engineers, performers, acousticians, psychiatrists, and physicists
School code: 0146
Host Item Dissertation Abstracts International 54-07A
Subject Music
Alt Author New York University
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