By Mark Katz
Absolutely revised and up-to-date, this new version of Mark Katz's award-winning textual content provides insurance of mashups and Auto-Tune, explores contemporary advancements in file-sharing, and contains an improved end and bibliography.
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Extra info for Capturing Sound: How Technology Has Changed Music (Revised Edition)
77 It is impossible to know how common this phonograph effect may have been— information on it can be collected only anecdotally—but given that generations of listeners grew up with cylinders and 78s, the phenomenon must have been pervasive. Moreover, I would speculate that the persistence of the three-minute pop song (more on which later) in an age when song lengths are no longer dictated by the capacity of 78s and 45s may well be a manifestation of atomized listening. The repetition of short pop songs over the decades almost certainly created a feedback loop in which listeners have come to expect works to be of a certain length and in which performers strive (or are pressured) to meet that expectation.
For some, however, the absence of an audience may be welcome, providing respite from the stress and distractions of concert performance. In a classical concert, coughing, snoring, talking, program rustling, and candy-wrapper crinkling may fluster or irritate the performer; at a pop concert audiences may in fact be louder than the performers, and can distract the musicians in any number of other ways. Removing the audience may therefore permit a sharper focus on making music to the artist’s own satisfaction.
67 I would speculate that as classical performers became accustomed to making and hearing repeatable performances, they gradually began to correct certain rhythmic “errors” by minimizing small-scale tempo fluctuations and curbing the once common habit of altering the length and placement of notes. This response to repeatability, in conjunction with the “tightening” of tempo I mentioned earlier, has led to a striking change in the way modern classical performers approach musical time. 68 For performers, repeatability is thus a double-edged sword, equally capable of enriching and burdening their work.
Capturing Sound: How Technology Has Changed Music (Revised Edition) by Mark Katz