In this Book

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From Attali’s “cold social silence” to Baudrillard’s hallucinatory reality, reproduced music has long been the target of critical attack. Steve Savage, however, deploys an innovative combination of designed recording projects, ethnographic studies of contemporary music practice, and critical analysis to challenge many of these traditional attitudes about the creation and reception of music. Savage adopts the notion of “repurposing” as central to understanding how every aspect of musical activity, from creation to reception, has been transformed, arguing that the tension within production between a naturalizing “art” and a self-conscious “artifice” reflects and feeds into our evolving notions of creativity, authenticity, and community. Three original audio projects form an integral part of the work, drawing from rock & roll, jazz, and traditional African music. Through these projects, Savage is able to target areas of contemporary practice that are particularly significant in the cultural evolution of the musical experience from the perspective of composers, musicians, and listeners. This work stems from Savage’s experience as a professional recording engineer and record producer. “Instead of focusing solely on legal aspects, as many authors have done, Savage takes the time to study not only how technologies have altered the way we make and consume music, but also how technology relates to culture. This balance between ‘empirical’ and ‘critical’ approaches is powerful.” — Serge Lacasse, Université Laval

Table of Contents

  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. pp. xiii-xiv
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  1. List of Audio Clips
  2. pp. xv-xvi
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  1. Introduction: Reproduction and New Paradigms
  2. pp. 1-20
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  1. Part One: Repurposing Presentation
  2. p. 21
  1. Introduction to Part I
  2. pp. 21-24
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  1. One: Application Study: Rock Band
  2. pp. 25-47
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  1. Two: Studio Study: Lipsmacks, Mouth Noises, and Heavy Breathing
  2. pp. 48-60
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  1. Three: Art or Artifice?
  2. pp. 61-78
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  1. Part Two: Repurposing Performance
  2. p. 79
  1. Introduction to Part II
  2. pp. 79-80
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  1. Four: Application Study: Jazz Piano Trio
  2. pp. 81-98
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  1. Five: Studio Study: Capturing the Unintentional Performance
  2. pp. 99-106
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  1. Six: Artist or Artisan?
  2. pp. 107-126
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  1. Part Three: Repurposing Participation
  2. p. 127
  1. Introduction to Part III
  2. pp. 127-128
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  1. Seven: Application Study: African Folklore and Music Communities
  2. pp. 129-149
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  1. Eight: Studio Study: From iPod to GarageBand
  2. pp. 150-173
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  1. Nine: Integration or (Dis)integration?
  2. pp. 174-192
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  1. Conclusions: Reflections on the Future
  2. pp. 193-196
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  1. Notes
  2. pp. 197-218
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  1. References
  2. pp. 219-228
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  1. Index
  2. pp. 229-251
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