By Travis Elborough
VINYL will be ultimate NAIL IN CD’S COFFIN ran the headline in a stressed journal article in October 2007.
Ever because the arrival of the long—playing list in 1948, the album has acted because the soundtrack to our lives. checklist collections—even on a CD or iPod-are own treasures, revealing our loves, mistakes in judgment, and lapses in taste.
In The Vinyl Countdown, Travis Elborough explores the best way specific albums are deeply embedded in cultural heritage or so ubiquitous as to be virtually invisible. whereas track itself has skilled a number of varied routine during the last sixty years, the album has remained a continuing. however the means we hearken to tune has replaced within the final ten years. within the age of the iPod, once we can obtain an enormous variety of unmarried tracks instantly, does the idea that of the album suggest anything?
Elborough strikes chronologically via proper classes, letting the tale of the LP, yes genres, formative years cults, and themes like sleeve designs, outlets, medicinal drugs, and schooling unfurl as he is going alongside. The Vinyl Countdown is an excellent piece of well known heritage, an idiosyncratic tribute to a much-loved a part of our shared realization, and a party of the enjoyment of documents.
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Extra info for The Vinyl Countdown: The Album from LP to iPod and Back Again
In his chapter, ‘Atonal harmony: from set to scale’, Célestin Deliège puts forward here a completely original alternative to set theory for the analysis of atonal harmony which takes account of fundamental tones, resonance and timbre, and through this is able to make a meaningful connection with the Spectralist composers. François Nicolas, in contrast, from his research work at IRCAM, carries out a philosophical analysis of the necessary conditions of a musical logic, focusing in turn on notation and consistency, the dialectical relationship to other works, and the possibility of an autonomous, strategic musical logic, not determined by external factors.
Trans. as ‘Putting the Phantoms to Flight’, Orientations, trans. Martin Cooper (London: Faber & Faber, 1986), pp. 63–83 Cage, John, Silence (London: Marion Boyars, 1968; 1980) Dahlhaus, Carl, Form in der Neuen Musik: Darmstädter Beiträge zur Neuen Musik X, ed. Ernst Thomas (Mainz: B. Schott’s Söhne, 1966) ——, Schoenberg and the New Music, trans. ’, The National Interest 16 (Summer 1989), pp. 3–18 Habermas, Jürgen, Der philosophische Diskurs der Moderne: Zwölf Vorlesungen (Frankfurt am Main: Suhrkamp Verlag, 1985).
It differs from ‘instrumental’ music because it is not dependent on human gesture. It is also different in its precision, reproducibility and stability. To instrumental music, electronic music adds machinery – computers, and detection and measurement devices – as well as experimental techniques. After Max Matthews, Jean-Claude Risset developed a new experimental technique at the end of the 1960s: analysis by synthesis. Computer music requires complete specification of the physical structure of sound, and this will only be relevant if all details are included.