The Instrument as Medium: Phonographic Work

Research output: Contributions to collected editions/worksContributions to collected editions/anthologiesResearchpeer-review

Standard

The Instrument as Medium : Phonographic Work. / Großmann, Rolf.

The Bloomsbury Handbook of Sound Art. ed. / Sanne Krogh Groth; Holger Schulze. 1. ed. London : Bloomsbury Academic, 2020. p. 436-445 23 (Bloomsbury handbooks).

Research output: Contributions to collected editions/worksContributions to collected editions/anthologiesResearchpeer-review

Harvard

Großmann, R 2020, The Instrument as Medium: Phonographic Work. in S Krogh Groth & H Schulze (eds), The Bloomsbury Handbook of Sound Art. 1 edn, 23, Bloomsbury handbooks, Bloomsbury Academic, London, pp. 436-445. https://doi.org/10.5040/9781501338823.0032

APA

Großmann, R. (2020). The Instrument as Medium: Phonographic Work. In S. Krogh Groth, & H. Schulze (Eds.), The Bloomsbury Handbook of Sound Art (1 ed., pp. 436-445). [23] (Bloomsbury handbooks). Bloomsbury Academic. https://doi.org/10.5040/9781501338823.0032

Vancouver

Großmann R. The Instrument as Medium: Phonographic Work. In Krogh Groth S, Schulze H, editors, The Bloomsbury Handbook of Sound Art. 1 ed. London: Bloomsbury Academic. 2020. p. 436-445. 23. (Bloomsbury handbooks). doi: 10.5040/9781501338823.0032

Bibtex

@inbook{9badbda4e2844104854294acf0947eca,
title = "The Instrument as Medium: Phonographic Work",
abstract = "To understand the emergence of new sound instruments through media technology, it is helpful to overcome the limitations of thought that arise from the history of European art music. The Western European cultural tradition of the instrumental production of sounds is almost opposite to the concept of sound art. It follows the tradition of abstraction from concrete sound in favor of melodic and later harmonic structure. Here an instrument is necessary tomake the signs of time and pitch of the written score (re-)sound. More precisely, the sound of an instrument is an accidental property of the tone, which is defined by its frequency, its pitch. Not until the twentieth century, with its emancipation of noise, did the paradigm of pitch leave the “universe of tone,” which contrasts with the “universe of sound.” The development of technical media of sonic writing, most of all the phono-graph, which for the first time made it possible to record acoustic events in their own sound, had a decisive influence on this change.",
keywords = "Music education, Sound Art, Sound Studies, Sound Art, Sound Studies, Media and communication studies",
author = "Rolf Gro{\ss}mann",
year = "2020",
doi = "10.5040/9781501338823.0032",
language = "English",
isbn = "978-1-5013-3879-3",
series = "Bloomsbury handbooks",
publisher = "Bloomsbury Academic",
pages = "436--445",
editor = "{Krogh Groth}, Sanne and Holger Schulze",
booktitle = "The Bloomsbury Handbook of Sound Art",
address = "United Kingdom",
edition = "1",

}

RIS

TY - CHAP

T1 - The Instrument as Medium

T2 - Phonographic Work

AU - Großmann, Rolf

PY - 2020

Y1 - 2020

N2 - To understand the emergence of new sound instruments through media technology, it is helpful to overcome the limitations of thought that arise from the history of European art music. The Western European cultural tradition of the instrumental production of sounds is almost opposite to the concept of sound art. It follows the tradition of abstraction from concrete sound in favor of melodic and later harmonic structure. Here an instrument is necessary tomake the signs of time and pitch of the written score (re-)sound. More precisely, the sound of an instrument is an accidental property of the tone, which is defined by its frequency, its pitch. Not until the twentieth century, with its emancipation of noise, did the paradigm of pitch leave the “universe of tone,” which contrasts with the “universe of sound.” The development of technical media of sonic writing, most of all the phono-graph, which for the first time made it possible to record acoustic events in their own sound, had a decisive influence on this change.

AB - To understand the emergence of new sound instruments through media technology, it is helpful to overcome the limitations of thought that arise from the history of European art music. The Western European cultural tradition of the instrumental production of sounds is almost opposite to the concept of sound art. It follows the tradition of abstraction from concrete sound in favor of melodic and later harmonic structure. Here an instrument is necessary tomake the signs of time and pitch of the written score (re-)sound. More precisely, the sound of an instrument is an accidental property of the tone, which is defined by its frequency, its pitch. Not until the twentieth century, with its emancipation of noise, did the paradigm of pitch leave the “universe of tone,” which contrasts with the “universe of sound.” The development of technical media of sonic writing, most of all the phono-graph, which for the first time made it possible to record acoustic events in their own sound, had a decisive influence on this change.

KW - Music education

KW - Sound Art

KW - Sound Studies

KW - Sound Art

KW - Sound Studies

KW - Media and communication studies

UR - https://b-ok.cc/book/5502067/d0cde4?dsource=recommend

UR - https://www.academia.edu/41807430/The_Bloomsbury_Handbook_of_Sound_Art

U2 - 10.5040/9781501338823.0032

DO - 10.5040/9781501338823.0032

M3 - Contributions to collected editions/anthologies

SN - 978-1-5013-3879-3

T3 - Bloomsbury handbooks

SP - 436

EP - 445

BT - The Bloomsbury Handbook of Sound Art

A2 - Krogh Groth, Sanne

A2 - Schulze, Holger

PB - Bloomsbury Academic

CY - London

ER -