<P><B>Winner of the Society for Ethnmusicology’s Klaus Wachsmann Award (2006)</B></P><P>Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi-track recording, and other studio practices that have powerfully impacted the world’s music. Distinctions between musicians and engineers increasingly blur, making it possible for people around the globe to imagine new sounds and construct new musical aesthetics. This collection of 11 essays employs primarily ethnographical, but also historical and psychological, approaches to examine a range of new, technology-intensive musics and musical practices such as: fusions of Indian film-song rhythms, heavy metal, and gamelan in Jakarta; urban Nepali pop which juxtaposes heavy metal, Tibetan Buddhist ritual chant, rap, and Himalayan folksongs; collaborations between Australian aboriginals and sound engineers; the production of ‘heaviness’ in heavy metal music; and the production of the ‘Austin sound.’ This anthology is must reading for anyone interested in the global character of contemporary music technology.</P><P>CONTRIBUTORS: Harris M. Berger, Beverley Diamond, Cornelia Fales, Ingemar Grandin, Louise Meintjes, Frederick J. Moehn, Karl Neunfeldt, Timothy D. Taylor, Jeremy Wallach.</P>
Table des matières
<P>Introduction: Wired Sound and Sonic Cultures – Paul D. Greene<BR>Reaching ‘Overseas’: South African Sound Engineers, Technology, and Tradition – Louise Menitjes<BR>’The Disc is Not the Avenue’: Live and Studio Aesthetics in Samba Recording – Frederick J. Moehn<BR>Nigel Pegrum, ‘Didjeridu-Friendly Sections, ‘ and What Constitutes an ‘Indigenous’ CD: An Australian Case Study of Producing ‘World Music’ Recordings – Karl Neuenfeldt<BR>Music Mediated as Live in Austin: Sound, Technology, and Recording Practice – Thomas Porcello<BR>Media as Social Action: Native American Musicians in the Recording Studio – Beverley Diamond<BR>Engineering Techno-Hybrid Grooves in Indonesian Sound Studios – Jeremy Wallach <BR>Short-Circuiting Perceptual Systems: Timbre in Ambient and Techno Music – Cornelia Fales<BR>’Heaviness’ in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features over Time – Harris M. Berger and Cornelia Fales<BR>Mixed Messages: Unsettled Cosmopolitanisms in Nepali Pop – Paul D. Greene<BR>The Soundscape of the Radio: Engineering Modern Songs and Superculture in Nepal – Ingemmar Grandin<BR>Music and the Rise of Radio: Technological Imperialism, Socialization, and the Transformation of Intimac y – Timothy D. Taylor<BR>Afterward – Thomas Porcello</P>
A propos de l’auteur
<P>PAUL D. GREENE is Assistant Professor of Ethnomusicology at Pennsylvania State University. THOMAS PORCELLO is Assistant Professor of Anthropology at Vassar College.</P>
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