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Absolute Music, Mechanical Reproduction$
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Arved Ashby

Print publication date: 2010

Print ISBN-13: 9780520264793

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520264793.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 16 September 2019

The Recorded Musical Text

The Recorded Musical Text

Chapter:
(p.27) 1. The Recorded Musical Text
Source:
Absolute Music, Mechanical Reproduction
Author(s):

Arved Ashby

Publisher:
University of California Press
DOI:10.1525/california/9780520264793.003.0002

This chapter discusses the performance of art music as a phenomenon that changes when it becomes permanent, and studies the ontological role of recordings in relation to performance. It tries to determine whether the recorded performance replaces the musical work any more or less than the live performance, regardless of whether it is understood as a sounding entity or as a commercial or physical object. The chapter also studies how useful the conventional notion of recording as documentation is, and considers the possible function of recording as performing the performance.

Keywords:   performance, art music, ontological role, recordings, recorded performance, musical work, live performance, sounding entity, documentation

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