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Technology and Music Performance in the Age of Mechanical Reproduction

Jon Frederickson
International Review of the Aesthetics and Sociology of Music
Vol. 20, No. 2 (Dec., 1989), pp. 193-220
DOI: 10.2307/836729
Stable URL: http://www.jstor.org/stable/836729
Page Count: 28
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Technology and Music Performance in the Age of Mechanical Reproduction
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Abstract

The introduction of technology into musical performance is transforming traditional aesthetic definitions of musical experience. Once social technology allows the abstraction of the individual from the performance, machine technology can complete the abstraction process. This process transforms traditional aesthetic definitions of what constitutes live musical experience: the relationship of the performer to the audience, to his sound and aura, to other musicians making music together, to his ears and environment, and to time. The discussion of musical time illustrates how aesthetics can function as a theory of experience rooted within a symbolic universe. Further, as the technological symbolic universe becomes dominant, we can observe a parallel shift in aesthetic theories.

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