000			03402cam a22004334a 4500
001			ocn731925256
003			OCoLC
005			20251028093243.0
008			120803s2013 nyua b 001 0 eng
010			_a 2012031561
035			_a(Sirsi) i9780415895408
040			_aDLC _beng _cDLC _dYDX _dBTCTA _dOCLCO _dYDXCP _dIG# _dCDX _dVF$
020			_a9780415895408 (hardback : alk. paper)
020			_a0415895405 (hardback : alk. paper)
020			_a9780203078518 (ebook : alk. paper)
020			_a0203078519 (ebook : alk. paper)
035			_a(OCoLC)731925256
042			_apcc
050	0	0	_aML 457 _b.S23 2013
049			_aVF$A
100	1		_aSanden, Paul.
245	1	0	_aLiveness in modern music : _bmusicians, technology, and the perception of performance / _cPaul Sanden.
260			_aNew York : _bRoutledge, _c2013.
300			_axiv, 206 p. : _bill. ; _c24 cm.
490	1		_aRoutledge research in music ; _v5
504			_aIncludes bibliographical references (p. [189]-202) and index.
505	0		_aA theory of liveness in mediatized music -- Hearing Glenn Gould's body : corporeal liveness in recorded music -- Reconsidering fidelity : authenticity, historicism, and liveness in the music of the White Stripes -- Interactive liveness in live electronic music -- Virtual liveness and sounding cyborgs : John Oswald's "Vane" -- Performing cyborgs : The flaying of Marsyas and turntablism.
520			_aThis study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts--tensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies.
650		0	_aMusic _xPerformance _xHistory.
650		0	_aMusical perception.
650		0	_aMusic _xPsychological aspects.
830		0	_aRoutledge research in music ; _v5.
938			_aBaker and Taylor _bBTCP _nBK0009972938
938			_aYBP Library Services _bYANK _n8687357
938			_aIngram _bINGR _n9780415895408
938			_aCoutts Information Services _bCOUT _n17158225
994			_aC0 _bVF$
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