Download How Music Dies (or Lives): Field Recording and the Battle by Ian Brennan PDF

By Ian Brennan

Contributor note: Corin Tucker (Forward)

All recordings rfile existence, bobbing up from a selected time and position, and if that position is man made, the consequences could be to boot. Culled from a life of studying via failure and designed to impress idea and idea for artists in each medium, How song Dies (or Lives) is a digital how-to handbook for these on a quest for authenticity in an age of airbrushed and Auto-Tuned so-called “artists.”

Author and Grammy-winning manufacturer Ian Brennan chronicles his personal trips to discover new and historic sounds, textured voices, and nonmalleable songs, and he offers readers with an elaborate examine our technological society.

His concise prose covers themes such as:
•The damages of colonization in generalizing unique variations
•The desire for imperfection
•The gaps among production and invention
•The saturation of tune in daily life

This consultant serves those that ask themselves, “What’s flawed with our culture?” in addition to attainable solutions are classes in utilizing the microphone as a telescope, listening to the earth as an echo, and appreciating the price of democratizing voices.

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Additional resources for How Music Dies (or Lives): Field Recording and the Battle for Democracy in the Arts

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Atkins, who’d done a series of successful instrumental records before this, explains in the liner notes why he was anxious to work with Paul, who invented the solid-body electric guitar and other music-making devices. “He really does know everybody who’s playing and what they’re doing on the instrument,” Atkins said. ” And the low-key stuff these two did together here? Guitarists are still trying to figure all of it out. Country Jazz. Released: 1977, RCA. ” Catalog Choices: Atkins: Mister Guitar.

Virtually every jazz and saloon singer who reinterpreted these songs was familiar with his precise, unassuming treatments, which became the standard starting point for the singing of standards. In 1952, during a rocky stretch at the box office (The Belle of New York had just tanked), Astaire and a top-shelf jazz combo gathered in Los Angeles to rerecord songs he’d done in musicals and films. The pianist Oscar Peterson was at the helm, and among the supporting cast was the virtuosic guitarist Barney Kessel and tenor saxophonist Flip Fred Astaire could dance and sing.

Fugues have fixed rules, and Bach both upholds and bends them as he goes, exhausting possibilities with characteristic German thoroughness. Bach understood that different keys projected different tones and colors, and he wrote to exploit those. His C Major Prelude, for example, is a totally open book, with a recurring figure that occasionally dips, via chromatic lines, into the relative minor. Later, working in “stormier” keys like E-flat or D-flat, his fugue subjects become more reflective, at times almost lyrical.

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