Arved Ashby
- Published in print:
- 2010
- Published Online:
- May 2012
- ISBN:
- 9780520264793
- eISBN:
- 9780520945692
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520264793.001.0001
- Subject:
- Music, Performing Practice/Studies
Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. This book argues that recording technology has transformed our ...
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Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. This book argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, the author sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.Less
Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. This book argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, the author sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0004
- Subject:
- Music, Popular
Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on ...
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Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on soundstages and assembled in editing rooms. Some musicians—especially Miles Davis and his jazz fusion bands—directed improvisations in the recording studio and left the task of assembling albums to their producers. Audiences for such albums heard, not studio games of cut 'n' paste, but tracks that resembled the turn-on-a-dime musical performances they heard in concert—performances which imitated techniques devised in postproduction. Enabling the naiveté of this audience is an overarching truth: jazz production almost always uses available technologies to ensure that in-the-moment performances are recorded (and, later, reproduced) as perfectly as possible.Less
Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on soundstages and assembled in editing rooms. Some musicians—especially Miles Davis and his jazz fusion bands—directed improvisations in the recording studio and left the task of assembling albums to their producers. Audiences for such albums heard, not studio games of cut 'n' paste, but tracks that resembled the turn-on-a-dime musical performances they heard in concert—performances which imitated techniques devised in postproduction. Enabling the naiveté of this audience is an overarching truth: jazz production almost always uses available technologies to ensure that in-the-moment performances are recorded (and, later, reproduced) as perfectly as possible.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0003
- Subject:
- Music, Popular
The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could ...
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The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could capture on tape—for reproduction and sale on records—jazz that had routinely happened for many years only on various stages. When recording technology caught up with the actual practice of improvising musicians, jazz discovered an ideal form in the "album." George Avakian's visionary work with Duke Ellington, Miles Davis, Erroll Garner, Buck Clayton, and Dave Brubeck realized what could be done with the new format and technology. The productions of Milt Gabler, Bob Weinstock, Esmond Edwards, Don Schlitten Teo Macero, Bob Thiele, Orrin Keepnews, Nesuhi Ertegun, Creed Taylor, Lester Koenig, Nat Hentoff ushered in a golden age for jazz.Less
The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could capture on tape—for reproduction and sale on records—jazz that had routinely happened for many years only on various stages. When recording technology caught up with the actual practice of improvising musicians, jazz discovered an ideal form in the "album." George Avakian's visionary work with Duke Ellington, Miles Davis, Erroll Garner, Buck Clayton, and Dave Brubeck realized what could be done with the new format and technology. The productions of Milt Gabler, Bob Weinstock, Esmond Edwards, Don Schlitten Teo Macero, Bob Thiele, Orrin Keepnews, Nesuhi Ertegun, Creed Taylor, Lester Koenig, Nat Hentoff ushered in a golden age for jazz.
Andrew Leyshon
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199572410
- eISBN:
- 9780191783180
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572410.003.0005
- Subject:
- Business and Management, Information Technology
This chapter explores another area of the musical economy which has been radically transformed through software and code: the recording studio sector. It reveals how it encouraged a vertical ...
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This chapter explores another area of the musical economy which has been radically transformed through software and code: the recording studio sector. It reveals how it encouraged a vertical disintegration of production in musical agglomerations from the late 1970s on and, in so doing, helped leading recording centres to strengthen their hold on the market for recording budgets. However, the impact of software since the mid-1990s has been less benign for such centres. The rise of more affordable digital recording rigs and easier programming protocols represents a democratization of technology, making available a process that was once only accessible through a recording studio. Software and code have made possible a regime of distributed musical creativity, and the recording studio sector is undergoing a severe crisis which has produced a spate of studio closures, redundancies and underemployment within musical agglomerations.Less
This chapter explores another area of the musical economy which has been radically transformed through software and code: the recording studio sector. It reveals how it encouraged a vertical disintegration of production in musical agglomerations from the late 1970s on and, in so doing, helped leading recording centres to strengthen their hold on the market for recording budgets. However, the impact of software since the mid-1990s has been less benign for such centres. The rise of more affordable digital recording rigs and easier programming protocols represents a democratization of technology, making available a process that was once only accessible through a recording studio. Software and code have made possible a regime of distributed musical creativity, and the recording studio sector is undergoing a severe crisis which has produced a spate of studio closures, redundancies and underemployment within musical agglomerations.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.001.0001
- Subject:
- Music, Popular
In histories of music and audio technologies, and particularly in narratives about jazz, record producers tend to fall by the wayside. They're seldom acknowledged and generally unknown. But without ...
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In histories of music and audio technologies, and particularly in narratives about jazz, record producers tend to fall by the wayside. They're seldom acknowledged and generally unknown. But without them and their contributions to the art form, we’d have little on record of some of the most important music ever created. This oral history—organizing interviews gathered by music scholar Michael Jarrett—tells the stories behind some of jazz's best-selling and most influential albums. Beginning in the mid-'30s and continuing to the present, it draws together conversations with over fifty producers, musicians, engineers, and label executives. It shines a light on the world of making jazz record albums by letting producers tell their own stories and share their experiences in creating the American jazz canon. Packed with fascinating stories and fresh perspectives on over 200 albums and artists—including legends such as Louis Armstrong, Duke Ellington, John Coltrane, Ornette Coleman, and Miles Davis, as well as contemporary artists such as George Benson, Diana Krall, and Norah Jones—Pressed for All Time tells the unknown stories of the men and women who helped to shape the quintessential American sound.Less
In histories of music and audio technologies, and particularly in narratives about jazz, record producers tend to fall by the wayside. They're seldom acknowledged and generally unknown. But without them and their contributions to the art form, we’d have little on record of some of the most important music ever created. This oral history—organizing interviews gathered by music scholar Michael Jarrett—tells the stories behind some of jazz's best-selling and most influential albums. Beginning in the mid-'30s and continuing to the present, it draws together conversations with over fifty producers, musicians, engineers, and label executives. It shines a light on the world of making jazz record albums by letting producers tell their own stories and share their experiences in creating the American jazz canon. Packed with fascinating stories and fresh perspectives on over 200 albums and artists—including legends such as Louis Armstrong, Duke Ellington, John Coltrane, Ornette Coleman, and Miles Davis, as well as contemporary artists such as George Benson, Diana Krall, and Norah Jones—Pressed for All Time tells the unknown stories of the men and women who helped to shape the quintessential American sound.
Jonathan Bignell
- Published in print:
- 2012
- Published Online:
- July 2012
- ISBN:
- 9780719064203
- eISBN:
- 9781781701867
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719064203.003.0002
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter discusses the importance of the technologies that were used in making the five dramas Beckett wrote for British television. It studies television adaptations of Beckett's theatre plays, ...
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This chapter discusses the importance of the technologies that were used in making the five dramas Beckett wrote for British television. It studies television adaptations of Beckett's theatre plays, which were recorded in a television studio. It examines the work done on the aesthetics of television and also notes how changes on production technologies affected Beckett's work and other productions. This chapter also discusses the aesthetic significance of studio production and the plays' uses of film recording technology in the television studio.Less
This chapter discusses the importance of the technologies that were used in making the five dramas Beckett wrote for British television. It studies television adaptations of Beckett's theatre plays, which were recorded in a television studio. It examines the work done on the aesthetics of television and also notes how changes on production technologies affected Beckett's work and other productions. This chapter also discusses the aesthetic significance of studio production and the plays' uses of film recording technology in the television studio.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0005
- Subject:
- Music, Popular
When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time ...
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When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time consuming to execute on analog tape. But they have informed jazz production most profoundly in the smallest sorts of ways. Fixing the little stuff that once marred, otherwise stellar, performances is now very quick and easy. A number of jazz recordings discussed in this chapter were not recorded digitally, and when they were, many of their producers merely treated digital tape and hard drives as the new, perhaps "improved," analog tape. Much of the time, in the world of jazz production a potentially revolutionary technology is just added to—and conceptualized in terms of–what was already available.Less
When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time consuming to execute on analog tape. But they have informed jazz production most profoundly in the smallest sorts of ways. Fixing the little stuff that once marred, otherwise stellar, performances is now very quick and easy. A number of jazz recordings discussed in this chapter were not recorded digitally, and when they were, many of their producers merely treated digital tape and hard drives as the new, perhaps "improved," analog tape. Much of the time, in the world of jazz production a potentially revolutionary technology is just added to—and conceptualized in terms of–what was already available.
Michael Frishkopf
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789774162930
- eISBN:
- 9781617970139
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774162930.003.0006
- Subject:
- Society and Culture, Middle Eastern Studies
The advent of recording and broadcast technologies had a profound impact on music making in the Arab Persian Gulf. Unlike many other parts of the world, however, the arrival of mass-mediated music ...
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The advent of recording and broadcast technologies had a profound impact on music making in the Arab Persian Gulf. Unlike many other parts of the world, however, the arrival of mass-mediated music accompanied a period of dramatic economic, social, and political transformation in the region. This chapter presents an overview of mass media technologies, their musical ramifications, and the interplay of music in mass media with concurrent societal developments from the early twentieth century to the present. Although today the Gulf has become synonymous with oil and wealth, the region was very different at the beginning of the twentieth century, when pearling, date farming, and long-distance trade dominated the local economy. Most of the music traditions involved in mass-mediated music in the Gulf are either urban traditions or urban versions of maritime or Bedouin music.Less
The advent of recording and broadcast technologies had a profound impact on music making in the Arab Persian Gulf. Unlike many other parts of the world, however, the arrival of mass-mediated music accompanied a period of dramatic economic, social, and political transformation in the region. This chapter presents an overview of mass media technologies, their musical ramifications, and the interplay of music in mass media with concurrent societal developments from the early twentieth century to the present. Although today the Gulf has become synonymous with oil and wealth, the region was very different at the beginning of the twentieth century, when pearling, date farming, and long-distance trade dominated the local economy. Most of the music traditions involved in mass-mediated music in the Gulf are either urban traditions or urban versions of maritime or Bedouin music.
Brenton J. Malin
- Published in print:
- 2014
- Published Online:
- March 2016
- ISBN:
- 9780814762790
- eISBN:
- 9780814770153
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814762790.003.0005
- Subject:
- Society and Culture, Media Studies
This chapter looks at a set of scientific and popular concerns about motion pictures and related recording technologies, focusing primarily on the work of psychologist Christian Ruckmick. As a ...
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This chapter looks at a set of scientific and popular concerns about motion pictures and related recording technologies, focusing primarily on the work of psychologist Christian Ruckmick. As a researcher in Carl Seashore's Iowa laboratory, he uses apparatuses such as the psycho-galvanometer to analyze a range of communication phenomena. Ruckmick was the primary researcher on one of the two Payne Fund motion picture studies completed at Iowa. This research demonstrated an interesting array of anxieties both within the general culture and among early twentieth-century social scientists. The same technological power that made motion pictures dangerous stimulants of emotion made the recording apparatuses of the laboratory ideal for emotional analysis. These technologies allowed Ruckmick and his colleagues to project an image of an emotionally controlled, scientific objectivity that sought to highlight their own immunity to the emotions of the new media age.Less
This chapter looks at a set of scientific and popular concerns about motion pictures and related recording technologies, focusing primarily on the work of psychologist Christian Ruckmick. As a researcher in Carl Seashore's Iowa laboratory, he uses apparatuses such as the psycho-galvanometer to analyze a range of communication phenomena. Ruckmick was the primary researcher on one of the two Payne Fund motion picture studies completed at Iowa. This research demonstrated an interesting array of anxieties both within the general culture and among early twentieth-century social scientists. The same technological power that made motion pictures dangerous stimulants of emotion made the recording apparatuses of the laboratory ideal for emotional analysis. These technologies allowed Ruckmick and his colleagues to project an image of an emotionally controlled, scientific objectivity that sought to highlight their own immunity to the emotions of the new media age.
Albin Zak
- Published in print:
- 2001
- Published Online:
- May 2012
- ISBN:
- 9780520218093
- eISBN:
- 9780520928152
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520218093.001.0001
- Subject:
- Music, History, American
After a hundred years of recording, the process of making records is still mysterious to most people who listen to them. Records hold a fundamental place in the dynamics of modern musical life, but ...
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After a hundred years of recording, the process of making records is still mysterious to most people who listen to them. Records hold a fundamental place in the dynamics of modern musical life, but what do they represent? Are they documents? Snapshots? Artworks? Fetishes? Commodities? Conveniences? This book explores recording consciousness and compositional process from the perspective of those who make records. It examines the crucial roles played by recording technologies in the construction of rock music and shows how songwriters, musicians, engineers, and producers contribute to the creative project, and how they all leave their mark on the finished work. The book shapes an image of the compositional milieu by exploring its elements and discussing the issues and concerns faced by artists. Using their testimony to illuminate the nature of record making and of records themselves, it shows that the art of making rock records is a collaborative compositional process that includes many skills and sensibilities not traditionally associated with musical composition. The book connects all the topics–whether technical, conceptual, aesthetic, or historical–with specific artists and recordings, and illustrates them with citations from artists and with musical examples.Less
After a hundred years of recording, the process of making records is still mysterious to most people who listen to them. Records hold a fundamental place in the dynamics of modern musical life, but what do they represent? Are they documents? Snapshots? Artworks? Fetishes? Commodities? Conveniences? This book explores recording consciousness and compositional process from the perspective of those who make records. It examines the crucial roles played by recording technologies in the construction of rock music and shows how songwriters, musicians, engineers, and producers contribute to the creative project, and how they all leave their mark on the finished work. The book shapes an image of the compositional milieu by exploring its elements and discussing the issues and concerns faced by artists. Using their testimony to illuminate the nature of record making and of records themselves, it shows that the art of making rock records is a collaborative compositional process that includes many skills and sensibilities not traditionally associated with musical composition. The book connects all the topics–whether technical, conceptual, aesthetic, or historical–with specific artists and recordings, and illustrates them with citations from artists and with musical examples.
Floyd Levin
- Published in print:
- 2000
- Published Online:
- May 2012
- ISBN:
- 9780520213609
- eISBN:
- 9780520928985
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520213609.003.0003
- Subject:
- Music, History, American
This chapter explores the colorful history of jazz. It pieces together the origins of great jazz recordings, hit songs, and important performances. Next, it takes a look at some of the popular jazz ...
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This chapter explores the colorful history of jazz. It pieces together the origins of great jazz recordings, hit songs, and important performances. Next, it takes a look at some of the popular jazz groups and singers, such as the 369th Infantry Jazz band, Spud Murphy, and Jack Teagarden. It also studies the first recorded hit of the jazz age and the world premiere of “Rhapsody in Blue.” The chapter also studies the development of recording technology by studying Dick Hyman's recording session, which included the direct-to-CD production of Dick Hyman Plays Duke Ellington.Less
This chapter explores the colorful history of jazz. It pieces together the origins of great jazz recordings, hit songs, and important performances. Next, it takes a look at some of the popular jazz groups and singers, such as the 369th Infantry Jazz band, Spud Murphy, and Jack Teagarden. It also studies the first recorded hit of the jazz age and the world premiere of “Rhapsody in Blue.” The chapter also studies the development of recording technology by studying Dick Hyman's recording session, which included the direct-to-CD production of Dick Hyman Plays Duke Ellington.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0002
- Subject:
- Music, Popular
Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs ...
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Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.Less
Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0001
- Subject:
- Music, Popular
An interview with record producer Don Schlitten, serving as an overview (and survey) of jazz record production. It contrasts the recording of jazz with other types of popular music.
An interview with record producer Don Schlitten, serving as an overview (and survey) of jazz record production. It contrasts the recording of jazz with other types of popular music.
Albin J. Zak
- Published in print:
- 2018
- Published Online:
- October 2018
- ISBN:
- 9780199985227
- eISBN:
- 9780190908027
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199985227.003.0014
- Subject:
- Music, Popular
In 1958, record producer Mitch Miller vehemently criticized the state of Top 40 radio. He argued that DJs were pandering excessively to the tastes of teenagers and playing low-quality popular music. ...
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In 1958, record producer Mitch Miller vehemently criticized the state of Top 40 radio. He argued that DJs were pandering excessively to the tastes of teenagers and playing low-quality popular music. This criticism was aimed largely at rock and roll records produced by the low-budget, independent recording firms with whom he now found himself in competition. This chapter traces the development of the major-labels’ novel pop music production practices in the 1950s, specifically the use of overdubbing, unconventional arrangements, added reverb, and Foley effects. These techniques are compared with indie-label recording, which captured more populist genres with less expensive postproduction capabilities. Finally, the chapter traces the aesthetics of DIY (do-it-yourself) records made by amateur musicians-turned-radio-stars, and concludes with a discussion of the lasting effects of these 1950s pop music crosscurrents.Less
In 1958, record producer Mitch Miller vehemently criticized the state of Top 40 radio. He argued that DJs were pandering excessively to the tastes of teenagers and playing low-quality popular music. This criticism was aimed largely at rock and roll records produced by the low-budget, independent recording firms with whom he now found himself in competition. This chapter traces the development of the major-labels’ novel pop music production practices in the 1950s, specifically the use of overdubbing, unconventional arrangements, added reverb, and Foley effects. These techniques are compared with indie-label recording, which captured more populist genres with less expensive postproduction capabilities. Finally, the chapter traces the aesthetics of DIY (do-it-yourself) records made by amateur musicians-turned-radio-stars, and concludes with a discussion of the lasting effects of these 1950s pop music crosscurrents.
Ian Whittington
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474413596
- eISBN:
- 9781474444897
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474413596.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
As his job with the BBC News Division took him from the deserts of Egypt, through Italy, to the gates of Buchenwald, Irish playwright Denis Johnston struggled with a multiply determined neutrality ...
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As his job with the BBC News Division took him from the deserts of Egypt, through Italy, to the gates of Buchenwald, Irish playwright Denis Johnston struggled with a multiply determined neutrality which inhered partly in his role of war correspondent, and partly in circumstances specific to his own life. In particular, Johnston sought to balance the ideal of journalistic objectivity with the need to convey the emotional horrors of the struggle, all while serving as a politically neutral Protestant Irishman within a semi-autonomous British broadcaster. Johnston’s position as a neutral mediator was intensified by the development of newly compact recording technologies which allowed him to record actuality broadcasts, commentary, and interviews in the field—in a sense, to allow the war to speak for itself. For all these traces of immediacy, after the war Johnston would frame his experience in a heavily embellished and fantastical memoir, Nine Rivers from Jordan (1953). By weaving together Johnston’s war broadcasts, his journals, and his memoir, this chapter illustrates how journalistic objectivity and literary experiment existed in productive tension during the war; at the same time, Johnston’s postwar response to the atrocities of the holocaust reveal a journalist shaken by the moral vacuum revealed in wartime Europe.Less
As his job with the BBC News Division took him from the deserts of Egypt, through Italy, to the gates of Buchenwald, Irish playwright Denis Johnston struggled with a multiply determined neutrality which inhered partly in his role of war correspondent, and partly in circumstances specific to his own life. In particular, Johnston sought to balance the ideal of journalistic objectivity with the need to convey the emotional horrors of the struggle, all while serving as a politically neutral Protestant Irishman within a semi-autonomous British broadcaster. Johnston’s position as a neutral mediator was intensified by the development of newly compact recording technologies which allowed him to record actuality broadcasts, commentary, and interviews in the field—in a sense, to allow the war to speak for itself. For all these traces of immediacy, after the war Johnston would frame his experience in a heavily embellished and fantastical memoir, Nine Rivers from Jordan (1953). By weaving together Johnston’s war broadcasts, his journals, and his memoir, this chapter illustrates how journalistic objectivity and literary experiment existed in productive tension during the war; at the same time, Johnston’s postwar response to the atrocities of the holocaust reveal a journalist shaken by the moral vacuum revealed in wartime Europe.
Ed Nosal and Guillaume Rocheteau
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262016285
- eISBN:
- 9780262298285
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262016285.003.0003
- Subject:
- Economics and Finance, Econometrics
Building on the previous chapter’s presentation of credit arrangements that allow intertemporal gains from trade to be exploited by agents, this chapter studies agents under an environment of ...
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Building on the previous chapter’s presentation of credit arrangements that allow intertemporal gains from trade to be exploited by agents, this chapter studies agents under an environment of distrust. Assuming that buyers and sellers have no trust for one another due to the lack of commitment in repaying their debts, trade by credit may not be incentive feasible. If ever trade were to occur, agents would need a kind of tangible medium of exchange. The chapter demonstrates that money is essential in an environment where agents cannot commit and there is no record-keeping technology. The role of money is the record-keeping technology itself.Less
Building on the previous chapter’s presentation of credit arrangements that allow intertemporal gains from trade to be exploited by agents, this chapter studies agents under an environment of distrust. Assuming that buyers and sellers have no trust for one another due to the lack of commitment in repaying their debts, trade by credit may not be incentive feasible. If ever trade were to occur, agents would need a kind of tangible medium of exchange. The chapter demonstrates that money is essential in an environment where agents cannot commit and there is no record-keeping technology. The role of money is the record-keeping technology itself.
E. Douglas Bomberger
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780190872311
- eISBN:
- 9780190872342
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190872311.001.0001
- Subject:
- Music, History, American, History, Western
Nineteen seventeen, the year the United States entered World War I, was transformative for American musical culture. The European performers who had dominated classical concert stages for generations ...
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Nineteen seventeen, the year the United States entered World War I, was transformative for American musical culture. The European performers who had dominated classical concert stages for generations came under intense scrutiny, and some of the compositions of Austro-German composers were banned. This year saw the concurrent rise of jazz music from a little-known regional style to a national craze. Significant improvements in recording technology facilitated both the first million-selling jazz record and the first commercial recordings of full symphony orchestras. In a segregated country, as the US military wrestled with how to make use of several million African Americans who had registered for the draft, James Reese Europe broke down racial barriers with his Fifteenth New York National Guard Band.
This book tells the story of this year through the lives of eight performers: orchestral conductors Karl Muck and Walter Damrosch, violinist Fritz Kreisler, pianist Olga Samaroff, contralto Ernestine Schumann-Heink, jazz cornetists Dominic LaRocca and Freddie Keppard, and army bandmaster James Reese Europe. Their individual stories, traced month by month through the eventful year of 1917, illuminate the larger changes that convulsed the country’s musical culture and transformed it in uniquely American ways.Less
Nineteen seventeen, the year the United States entered World War I, was transformative for American musical culture. The European performers who had dominated classical concert stages for generations came under intense scrutiny, and some of the compositions of Austro-German composers were banned. This year saw the concurrent rise of jazz music from a little-known regional style to a national craze. Significant improvements in recording technology facilitated both the first million-selling jazz record and the first commercial recordings of full symphony orchestras. In a segregated country, as the US military wrestled with how to make use of several million African Americans who had registered for the draft, James Reese Europe broke down racial barriers with his Fifteenth New York National Guard Band.
This book tells the story of this year through the lives of eight performers: orchestral conductors Karl Muck and Walter Damrosch, violinist Fritz Kreisler, pianist Olga Samaroff, contralto Ernestine Schumann-Heink, jazz cornetists Dominic LaRocca and Freddie Keppard, and army bandmaster James Reese Europe. Their individual stories, traced month by month through the eventful year of 1917, illuminate the larger changes that convulsed the country’s musical culture and transformed it in uniquely American ways.
Samuel A. Floyd
- Published in print:
- 2017
- Published Online:
- April 2017
- ISBN:
- 9780195307245
- eISBN:
- 9780190651305
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307245.003.0007
- Subject:
- Music, Popular
Children of the Diaspora are considered as important consumers and makers of black musics during the first four decades of the twentieth century. With the advent of recorded sound, children were able ...
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Children of the Diaspora are considered as important consumers and makers of black musics during the first four decades of the twentieth century. With the advent of recorded sound, children were able to listen to and study music at school, and the Victor Talking Machine Company introduced American children (black and white) to a variety to genres, including the spirituals. Children were also organizing and joining musical organizations, such as juvenile bands and pickaninny bands, which furthered their musical training and provided them with domestic and international performing experience.Less
Children of the Diaspora are considered as important consumers and makers of black musics during the first four decades of the twentieth century. With the advent of recorded sound, children were able to listen to and study music at school, and the Victor Talking Machine Company introduced American children (black and white) to a variety to genres, including the spirituals. Children were also organizing and joining musical organizations, such as juvenile bands and pickaninny bands, which furthered their musical training and provided them with domestic and international performing experience.
Simon Zagorski-Thomas
- Published in print:
- 2018
- Published Online:
- October 2018
- ISBN:
- 9780199985227
- eISBN:
- 9780190908027
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199985227.003.0016
- Subject:
- Music, Popular
This chapter explores the cognitive processes involved in listening to electronically mediated music. Drawing on theories of embodied cognition, the chapter argues that the record-production process ...
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This chapter explores the cognitive processes involved in listening to electronically mediated music. Drawing on theories of embodied cognition, the chapter argues that the record-production process can result in “sonic cartoons,” with certain aspects of a performance accentuated and others attenuated. This can lead to paradoxical listening experiences, such as an acoustic sound rendered antinaturalistically or an electronic sound imitating the behavior of a real sound-producing event. The chapter illustrates these perceptual ambiguities with examples of spectrographic analyses of acoustic works by Shania Twain and Terence Blanchard, in addition to electronic works by Aphex Twin and William Orbit.Less
This chapter explores the cognitive processes involved in listening to electronically mediated music. Drawing on theories of embodied cognition, the chapter argues that the record-production process can result in “sonic cartoons,” with certain aspects of a performance accentuated and others attenuated. This can lead to paradoxical listening experiences, such as an acoustic sound rendered antinaturalistically or an electronic sound imitating the behavior of a real sound-producing event. The chapter illustrates these perceptual ambiguities with examples of spectrographic analyses of acoustic works by Shania Twain and Terence Blanchard, in addition to electronic works by Aphex Twin and William Orbit.
E. Douglas Bomberger
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780190872311
- eISBN:
- 9780190872342
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190872311.003.0010
- Subject:
- Music, History, American, History, Western
The Fifteenth Regiment’s disciplined response to racial harassment during a two-week stay at Camp Wadsworth, in Spartanburg, South Carolina, earned it the right to be among the first units ordered to ...
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The Fifteenth Regiment’s disciplined response to racial harassment during a two-week stay at Camp Wadsworth, in Spartanburg, South Carolina, earned it the right to be among the first units ordered to France. Nick LaRocca represented the Original Dixieland Jazz Band in a Chicago lawsuit to stop the unauthorized publication of the sheet music to “Livery Stable Blues” by former bandmate “Yellow” Nunez, but the judge ruled that all blues were the same and therefore not subject to copyright protection. The Victor Talking Machine Company, using the Boston Symphony Orchestra and the Philadelphia Orchestra, made the first recordings employing the full symphony orchestra. The concert seasons of orchestras across the country opened amid intense scrutiny of their repertoire choices and patriotism.Less
The Fifteenth Regiment’s disciplined response to racial harassment during a two-week stay at Camp Wadsworth, in Spartanburg, South Carolina, earned it the right to be among the first units ordered to France. Nick LaRocca represented the Original Dixieland Jazz Band in a Chicago lawsuit to stop the unauthorized publication of the sheet music to “Livery Stable Blues” by former bandmate “Yellow” Nunez, but the judge ruled that all blues were the same and therefore not subject to copyright protection. The Victor Talking Machine Company, using the Boston Symphony Orchestra and the Philadelphia Orchestra, made the first recordings employing the full symphony orchestra. The concert seasons of orchestras across the country opened amid intense scrutiny of their repertoire choices and patriotism.
