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Algo-Rhythm And Mello-Dy: A Consideration Of The Relationship Between Technology And The Embodied Performance Of Music

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Chapter Summary

The use of found or appropriated sounds in music has taken place for as long as magnetic tape recording has been generally available, starting with figures like John Cage and Pierre Schaeffer in the 1940s, and it became more mainstream in the 1960s with technology such as the mellotron. While the utilization of found sounds by the musique concrète movement later produced more mainstream successes such as Sergio Leone. The development of digital synthesis technology, the rise of software-based music production, and the sheer volume of computer hard drive storage, has led to a vast increase in the sophistication of sampling. Popular definitions of musical performance have tended to be exclusionary and reactionary, and seemingly aimed primarily at asserting the superiority of particular genres. They have tended to present graduated differences as absolute differences or make untenable appeals to abstractions or interior states.

Keywords: digital synthesis technology; mellotron; musical performance

10.1163/ej.9789004184343.i-316.7
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