The Art of Recording and the Aesthetics of Perfection
Identifieur interne : 000832 ( Main/Exploration ); précédent : 000831; suivant : 000833The Art of Recording and the Aesthetics of Perfection
Auteurs : Andy Hamilton [Royaume-Uni]Source :
- The British Journal of Aesthetics [ 0007-0904 ] ; 2003-10.
English descriptors
- Teeft :
- Acousmatic, Acousmatic experience, Acoustic, Aesthetic significance, Aesthetics, Andy hamilton, Artistic status, Artur schnabel, Aura, Auratic conception, Auteur concept, Beethoven sonata, Boulez, British journal, British society, Chanan, Classical music, Compact disc, Creative editing, Creative recording, Critical inquiry, Culture industry, Digital recording, Douglas kahn, Earliest days, Electrical recording, Entire nature, Faithful reproduction, Frank zappa, Frequency response, Glenn gould, Glenn gould reader, Gould, Gouldian recording, Gouldian recordings, High fidelity, Imitative sound, Imperfection, Imperfectionist, Improvisation, Instrumental puritanism, Kahn, Listener expectations, Literal sound, Mechanical reproduction, Miles davis, Musique, Noise water meat, Original performance, Particular performance, Perfectionist, Perfectionist recording, Phonographic arts, Phonography, Pierre schaeffer, Playback, Popular music, Present article, Presque rien, Purist, Recording, Recording angel, Recording engineer, Recording technology, Representational mode, Schaeffer, Single performance, Sonic, Synchronic, Synchronic creativity, Synchronic integrity, Tape composition, Traditional hierarchy, Transparency, Transparency thesis, Virtual causality, Visual arts.
Abstract
Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work‐concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade the fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti‐mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non‐acousmatic sound art with the essentially acousmatic art of music.
Url:
DOI: 10.1093/bjaesthetics/43.4.345
Affiliations:
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A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work‐concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade the fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti‐mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non‐acousmatic sound art with the essentially acousmatic art of music.</div></front></TEI><affiliations><list><country><li>Royaume-Uni</li></country></list><tree><country name="Royaume-Uni"><noRegion><name sortKey="Hamilton, Andy" sort="Hamilton, Andy" uniqKey="Hamilton A" first="Andy" last="Hamilton">Andy Hamilton</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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