Music and Technology
A Very Short Introduction
Price: 375.00 INR
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ISBN:
9780199946983
Publication date:
28/11/2022
Paperback
136 pages
171.5x108mm
Price: 375.00 INR
We sell our titles through other companies
Disclaimer :You will be redirected to a third party website.The sole responsibility of supplies, condition of the product, availability of stock, date of delivery, mode of payment will be as promised by the said third party only. Prices and specifications may vary from the OUP India site.
ISBN:
9780199946983
Publication date:
28/11/2022
Paperback
136 pages
Mark Katz
Presents case studies of music technologies from around the world, including Brazil, China, Cuba, India, Japan, Korea, Madagascar, and Zimbabwe,Considers the roles race, gender, and power inequalities shape the way that technology is used in music making,Covers a broad range of repertoires, styles, and eras, including European classical music, hip hop, folk music, and film music, from the prehistoric era to today
Rights: OUP USA (INDIAN TERRITORY)
Mark Katz
Description
Mark Katz surveys the age-old interrelationship between music and technology, from prehistoric musical instruments to today's digital playback devices.
This Very Short Introduction takes an expansive and inclusive approach meant to broaden and challenge traditional views of music and technology. In its most common use, “music technology” tends to evoke images of twentieth and twenty-first century electronic devices: synthesizers, recording equipment, music notation software, and the like. This volume, however, treats all tools used to create, store, reproduce, and transmit music—new or old, electronic or not—as technologies
worthy of investigation. All musical instruments can be considered technologies. The modern piano, for example, is a marvel of keys, hammers, strings, pedals, dampers, and jacks; just the sound-producing mechanism, or action, on a piano has more than 50 different parts.
In this broad view, technology in music encompasses instruments, whether acoustic, electric or electronic; engraving and printing; sound recording and playback; broadcasting; software; and much more. Mark Katz challenges the view that technology is unnatural, something external to music. It was sometimes said in the early twentieth century that so-called mechanical music (especially player pianos and
phonographs) was a menace to “real” music; alternatively, technology can be freighted with utopian hopes and desires, as happens today with music streaming platforms like Spotify. Positive or negative, these views assume that technology is something that acts upon music; by contrast, this volume characterizes technology as an integral part of all musical activity and portrays traditional instruments and electronic machines as equally technological.
About the author
Mark Katz, John P. Barker Distinguished Professor of Music, University of North Carolina at Chapel HillMark Katz is John P. Barker Distinguished Professor of Music at the University of North Carolina at Chapel Hill and Founding Director of the hip-hop cultural diplomacy program, Next Level. His books include Capturing Sound: How Technology Has Changed Music (2010), Groove Music: The Art and Culture of the Hip-Hop DJ (2012), and Build: The Power of Hip Hop Diplomacy in a Divided World (2019).
Mark Katz
Table of contents
1. Music as Technology
2. The Body
3. Time
4. Space
5. Community
6. Noise
7. Five Theses about Music and Technology
References
Further Reading
Index
Mark Katz
Description
Mark Katz surveys the age-old interrelationship between music and technology, from prehistoric musical instruments to today's digital playback devices.
This Very Short Introduction takes an expansive and inclusive approach meant to broaden and challenge traditional views of music and technology. In its most common use, “music technology” tends to evoke images of twentieth and twenty-first century electronic devices: synthesizers, recording equipment, music notation software, and the like. This volume, however, treats all tools used to create, store, reproduce, and transmit music—new or old, electronic or not—as technologies
worthy of investigation. All musical instruments can be considered technologies. The modern piano, for example, is a marvel of keys, hammers, strings, pedals, dampers, and jacks; just the sound-producing mechanism, or action, on a piano has more than 50 different parts.
In this broad view, technology in music encompasses instruments, whether acoustic, electric or electronic; engraving and printing; sound recording and playback; broadcasting; software; and much more. Mark Katz challenges the view that technology is unnatural, something external to music. It was sometimes said in the early twentieth century that so-called mechanical music (especially player pianos and
phonographs) was a menace to “real” music; alternatively, technology can be freighted with utopian hopes and desires, as happens today with music streaming platforms like Spotify. Positive or negative, these views assume that technology is something that acts upon music; by contrast, this volume characterizes technology as an integral part of all musical activity and portrays traditional instruments and electronic machines as equally technological.
About the author
Mark Katz, John P. Barker Distinguished Professor of Music, University of North Carolina at Chapel HillMark Katz is John P. Barker Distinguished Professor of Music at the University of North Carolina at Chapel Hill and Founding Director of the hip-hop cultural diplomacy program, Next Level. His books include Capturing Sound: How Technology Has Changed Music (2010), Groove Music: The Art and Culture of the Hip-Hop DJ (2012), and Build: The Power of Hip Hop Diplomacy in a Divided World (2019).
Table of contents
1. Music as Technology
2. The Body
3. Time
4. Space
5. Community
6. Noise
7. Five Theses about Music and Technology
References
Further Reading
Index
Philip V. Bohlman
Nicholas Cook
Mark Evan Bonds
Matthew Restall
Kathryn Kalinak
Polybius, Robin Waterfield, Brian McGing
Oxford Dictionary of Musical Terms
Alison Latham
Music, Modernity, and Publicness in India
Tejaswini Niranjana
Nicholas Cook
