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Any Sound You Can Imagine: Making Music/Consuming Technology (Music/Culture) by Paul Theberge

Any Sound You Can Imagine: Making Music/Consuming Technology (Music/Culture) Paul Theberge ebook
Page: 303
Publisher: Wesleyan
ISBN: 0819563099, 9780819563095
Format: chm

Instead, music making increasingly employs technology produced elsewhere and is informed by a heightened awareness of sounds that are traveling rapidly around the world. As you are reading this account many years after I conducted this exercise, you can tell that any irreparable harm to which I was subjected was not damaging enough to suck me into a completely anti-social malignancy. The examples are all about the consumption of music. A recent book tells the story of how technology companies -- in the guise of advocates of "open" -- have gutted content and culture businesses and the creative ranks that depend on them. For all our stockpiling proclivities and the convenience of accessing all the music you ever wanted without ever owning it, this constitutes an affront to our ability to appropriate and singularise digital music. (You know, much like the one who can't possibly imagine why one would, and should, question the ethics of “education leaders” who continue to honor educational charlatans). He is cross appointed to the Institute for Comparative Studies in Literature, Art and Culture (where he was formerly Canada Research Chair and Director) and to the School for Studies in Art and Culture (Music). The Napster revolution had come and gone, forever changing how we consume music, but the recording industry was doing everything it could to resist progress. Featureteaser: This music brings Hermetic and Buddhist insights into a contemporary setting where they interact in a relevant way with our media-saturated culture, transforming ambient urban noise into a complex meditation. Among those superfluities most readily targeted are programs that serve the arts, which might divert kids from academics for an hour or so but produce so few professional musicians and artists that they can no longer be justified. This imbalance between content consumption and supporting content creators and their sponsors was beautifully/sickeningly captured in a recent discussion about an NPR intern who claimed she had 11,000 songs in her music library That starts sounding like a parasite to me. [Ethnographic evidence] shows that people .. Aside from new technologies, we also face issues related to intellectual property and how we should view the recording industry. Many artists Musicians are increasingly asking, “Isn't it better to give our recordings away for the sake of promotion since we mostly make our living from live performances?” . Can you imagine telling a painter, “I want you to paint my house, I won't pay you anything but people will see your work and hire you (to paint their houses for free). He led a career as a composer and He is the author of the award-winning book, Any Sound You Can Imagine: Making Music / Consuming Technology, and has published widely on issues concerning media, technology and music. Music can now no longer be adequately modeled as something that happens in a local context and employs only the expressive specific to a locality. Any Sound You Can Imagine: Making Music/Consuming Technology.