Index
Index Abbado, Claudio, 57 Abramson, Daniel, “Make History, Not Memory,” 156 absolute music, 6–12, 24–26, 60–61, 64, 67, 88, 125–27, 184, 192–93, 198–99, 216, 222, 255n24; as an expression of musical meaning, 168–71, 245–51; Mahler and, 222–27; musically absolute as a factor in recording, 207, 214; as relationship between individual and group, 101–103, 120–21, 175–82 Absolute Sound, the, 216–17 acoustic space and ambiance, 43–45, 50–56 Adorno, T. W., 85–86, 181–82, 201, 209, 216, 228; on “the expert listener ,” 21; “On the Fetish-Character in Music and the Regression of Listening ,” 181; on Mahler, 250; on “the ‘We,’” 180–81 AHRC Research Centre for the History and Analysis of Recorded Music , 253n3 archiving. See digital archiving Argerich, Martha, 210–11, 289n51 Arrau, Claudio, 149 art-religion, 194 Atget, Eugène, 238 Attali, Jacques, Noise, 22, 62–69, 85–86, 88, 89, 147, 265n6 Auslander, Philip, Liveness: Performance in a Mediatized Culture, 5 authentic performance. See performance practice authorship, 31, 36, 40, 127 Ayers, Edward L., 158–59 Babbitt, Milton, 168–69, 171, 180, 282n18 Bach, J.S., 55, 101–102, 208; as arranged by Dmitry Sitkovetsky, 112–13, 114; Goldberg Variations, 38; as recorded by Edwin Fischer, 153–55; as recorded by Gould, 92–93, 94, 99, 112–14, 118–19, 131 Badal, James, 197 Bakhtin, Mikhail, 38 Barthes, Roland, 23, 58–59, 87, 108, 218–19; “Death of the Author,” 32–33, 40–41, 189; duality of the erotic and pornographic, 218; on photography, 196, 204–206, 207, 214, 217, 232, 234, 237 Bartók, Béla, 65 Barton, David, “Literacy in Everyday Contexts,” 172 Baudrillard, Jean: duality of the seductive and obscene, 218; “the ecstasy of communication,” 170, 173–74, 187; on the image, 217–18, 219 BBC Legends, 153 309 Beach Boys, The, 195 Beatles, The, 7, 9, 69, 197; Rubber Soul, 133–34, 276n19 Beethoven, Ludwig van, 3, 6, 8, 62, 72, 73–74, 79, 86, 115, 168, 176–78, 225, 284n42; “Kreutzer,” 176, 180; “Pastorale” Symphony, 48–49; piano sonatas, 39–40, 92, 97, 98; Piano Sonatas Opp. 109–11, 33, 38–39, 105–107, 195; as played by Schnabel, 93–94, 99–100, 111–12; as played by Gould, 100, 111–12, 120–21; string quartets, 65, 67, 68; symphonies, 141, 169, 180, 187, 190, 199; Symphony No. 5, 86, 176–77, 179; Symphony No. 9, 64, 176, 181; Violin Concerto, 77–78; Violin Sonata Op. 47 Benjamin, Walter, 8–9, 19–20, 22, 61, 104, 192–93, 204, 251, 258n55, 275n2; Arcades Project, 146, 278n42; aura, 19–20, 61, 64, 89, 201; distraction , 41; photography and film, 195, 238, 288n34 Berg, Alban, 62 Bergson, Henri, 22, 62–63, 72–76, 77, 80, 88–89, 266n12 Berio, Luciano, 191 Berliner, Emil, 60 Berlioz, Hector, Symphonie fantastique , 247 Berman, Lazar, 119 Bernstein, Leonard, 107, 132–33, 221, 291n1, 296n37 Bible, the, 32, 33–37, 39, 56, 58 bibliography, 42–43, 44 Bloom, Harold, revisionary ratios, 113 Blyth, Alan, 150 books, 3, 43, 128, 140, 183, 188–89, 201–202, 295n32. See also bibliography Book-of-the-Month Club, 65–67, 69 Boorman, Stanley, 270n22 Boulez, Pierre, 197, 199–204, 210 Brahms, Johannes, 78, 86, 89, 182–83 Brendel, Alfred, 30, 85–86, 88, 91, 97, 119, 260n11, 269n3 Brooks, Tim, 159–60 Brown, David, 84 Brown, Earle, 75–76 Brown, James, 198 Brown, John Seely and Paul Duguid, The Social Life of Information, 127–28, 159–60, 257n41 Bruckner, Anton, 169, 191, 199 Bull, Michael, “The Dialectics of Walking,” 181, 284n50 Bülow, Hans von, 97 Burgin, Victor, 231 Burnham, Scott, 72, 266n11 cadenzas, 76–78 Cage, John, 75–76, 191 canons, 182–89 Captain Beefheart, Trout Mask Replica, 286n8 cartesianism, 37, 97 Caruso, Enrico, 7–8 Casals, Pablo, 124 cell phones, 165, 281n7 Chanan, Michael, 12, 18, 195, 283n24 Chant, 31 Chion, Michel, 138, 296n39 Chopin, Frédéric, 109; edited by Alfred Cortot, 115–116; played by Oscar Levant, 158, 160–61; played by Martha Argerich, 210–211 cinematograph, 73 Clarke, Eric F., 29, 39; Ways of Listening , 5 Coleridge, Samuel, 183–84 Collins, Christopher, Reading The Written Image: Verbal Play, Interpretation , and the Roots of Iconophobia , 222 commodities, 31–32, 61, 68–69, 88 compact disc, 73, 74, 128, 133, 137–44, 149–50, 162–65, 167–68, 276n9 composers, 37, 41, 195, 200–201, 205–206 concerts. See “live” performance concert halls. See acoustic space...
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