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Descobreix Les Possibilitats De La Música Digital

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Descobreix Les Possibilitats De La Música Digital Descobreix les possibilitats de la música digital http://musicadigitalhospitalet.wordpress.com Produït per la Biblioteca Josep Janés en col·laboració amb el Centre de Creació Multimèdia de L'Hospitalet-Torre Barrina i la Biblioteca de Bellvitge L'Hospitalet de Llobregat, desembre de 2013 Què aprendrem amb/en aquest curs? ● Els moments més importants de la història de l’enregistrament sonor. ● Les definicions més comunament acceptades de so i música. ● A entendre i visualitzar els conceptes d’analògic i de digital. ● A conèixer les tres possibles situacions o estats legals d’una obra artística, literària o científica: copyright, copyleft i domini públic. ● A situar els límits del concepte legal de còpia privada. ● Els més importants serveis i recursos musicals que ens ofereix Internet, pel que fa a la cerca d’informació, l’escolta i la descàrrega. Què NO aprendrem amb/en aquest curs? ● Spotify ● iTunes/iPod ● DRM ● MIDI Sumari o itinerari 1. Què aprendrem amb aquest curs? 5. La llarga cua i el Million Song Dataset 2. Glossari 6. Informació musical 3. Què és la música digital? 4. Marc legal 7. Música sota copyright 4.1 Obra, autoria i drets 8. Música sota copyleft (drets d’autor i drets connexos) 9. Música sota domini públic 4.2 Copyright, entitats de gestió i pirateria intel·lectual 10. Repositoris d’àudio 4.2.1 Dret de còpia privada 11. Aplicacions d’escriptori 4.3 Copyleft: Creative Commons i altres 12. Aplicacions per a mòbils i tauletes 4.4 Domini públic Terminologia Definició: “Conjunt de termes propis d'un àmbit d'especialitat. Nota: En alguns casos s'utilitza també terminologia per a referir-se a un vocabulari o glossari.” Font: TERMCAT Què és la música digital? Què és so? Què és la música digital? El segle XX: dissolució de la frontera entre soroll i música Arnold Schönberg Creador del dodecafonisme, que implica el rebuig de les formes clàssiques, de les quals la més important és l'abandó de la tonalitat. Molt influent en l'experimentació posterior fins avui (Béla Bartók, Karlheinz Stockhausen, Aaron Copland, Pierre Boulez, John Cage, Ornette Coleman, John Zorn, etc.). Què és la música digital? El segle XX: dissolució de la frontera entre soroll i música Pierre Schaeffer Compositor, músic, escriptor, enginyer, professor, locutor, musicòleg, activista, productor, inventor, crític cultural i... emprenedor. “Mais là n'est pas l'interêt de la magie electronique: chaque son brut possède en fait une configuration particulière, une personnalité, une «tendance», et le musicien doit chercher à l'exploiter au mieux.” La musique concrète (1967), p. 44 Què és la música digital? El segle XX: dissolució de la frontera entre soroll i música John Cage Alumne de Schönberg, compositor, teòric musical, escriptor i artista, pioner de la indeterminació en la música, experimentador i avantguardista per excel·lència i... micòleg. Molt conegut per la seva peça de 1952, 4'33”, executada en absència de so generat deliberadament per l'intèrpret. “porque la música, como el silencio, no existe” “los sonidos ambientales son más útiles estéticamente que los sonidos producidos por las culturas musicales del mundo” John Cage (1957) En: Nyman, Michael. Música experimental: de John Cage en adelante (2006). P. 51. Què és la música digital? El segle XX: dissolució de la frontera entre soroll i música Leonard Bernstein: The 20th Century Crisis http://www.youtube.com/watch?v=kPGstQUbpHQ Què és la música digital? El segle XX: la industrialització de la reproducció Walter Benjamin (Alemanya, 1892-1940) “Around 1900 technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public; it also had captured a place of its own among the artistic processes.” The work of art in the age of mechanical reproduction (1936) McLuhan, Marshall (Canadà, 1911-1980) “Electricity does not centralize, but decentralizes” Understanding media: the extensions of man (1964) Què és la música digital? El segle XX: la industrialització de la reproducció Enrico Caruso Primera estrella mundial, el seu enregistrament de 1907 de Vesti la giubba de l'òpera Pagliacci de Ruggero Leoncavallo va vendre un milió de discos. Què és la música digital? El segle XX: la industrialització de la reproducció Primer enregistrament elèctric (1925) “Acoustic recording and electrical recording share the same basic analog concept. [...] With each technology, sound waves cause a resonating surface to vibrate, and some sort of inscription technology creates an analog of these waves. [...] The obvious appeal of electrical recording is that a microphone can capture a wider range of sounds than an acoustic recording horn.” Milner, Greg. Perfecting sound forever: the story of recorded music. P. 52-53. Què és la música digital? El segle XX: la industrialització de la reproducció Els race records Durant els anys 20, tot i que la producció en massa de discos de 78 rpm ja era un fet, la indústria discogràfica encara no havia conquerit el públic afroamericà. El 10 d'agost de 1920, Mamie Smith enregistra Crazy Blues a Nova York. A partir d'aquí, podem parlar de race records: literalment, enregistraments de música negra per a negres. Un gran negoci. Què és la música digital? El segle XX: la industrialització de la reproducció Emory Cook, la high-fidelity i el so estereofònic L'elapé (33⅓ rpm) és presentat l'any 1948 i durant els anys 50 la millora de la tecnologia propicia l'aparició del concepte de high-fidelity o alta fidelitat. Emory Cook, amb la seva discogràfica, va apostar per oferir al nou públic audiòfil un concepte de so com a espectacle hiperrealista. A finals de 1957, Audio Fidelity publica els primers elapés estereofònics. Què és la música digital? El productor independent: l'estudi com a instrument Sam Phillips Locutor de ràdio, fundador de Sun Records a Memphis i descobridor d'Elvis Presley. En ell trobà el que estava buscant: una nova estrella blanca que cantés com un negre amb el públic blanc com a objectiu. Ike Turner, Johnny Cash, Jerry Lee Lewis, BB King, Roy Orbison o Carl Perkins són altres noms destacats que passaren per les mans de Phillips. “Phillips recorded looking for a feel, not technical perfection. Phillips told Elvis that the worst thing he could go for was perfection.” http://www.sunrecords.com/artists/sam-phillips Què és la música digital? El productor independent: l'estudi com a instrument Rudy Van Gelder Ell i Sam Phillips representen la transició entre el pur enginyer de so i el productor independent. D'inspiració amateur, enregistrà quasi tots els discos de la Blue Note, gran part d'ells a casa seva, un xalet especialment concebut com a “catedral del jazz”. Alfred Lion, fundador del segell, fou el seu punt de referència. "I'm an engineer, not a producer" "My goal is to make the musicians sound the way they want to be heard" http://www.nytimes.com/2005/05/22/nyregion/22njJAZZ.html?_r=2& Què és la música digital? El productor independent: l'estudi com a instrument Joe Meek Pioner (dècada de 1950) en l'ús de: ● Compressió ● Reverberació ● Sampleig ● Micròfons propers a la font sonora ● Entrada directa del baix a la taula de mescles ● Sobregravació (overdub) en una o dues pistes Què és la música digital? El productor independent: l'estudi com a instrument Phil Spector De vida personal controvertida, Spector (dècada de 1960) és un altre productor clàssic, conegut per la seva tècnica de Wall of Sound (mur de so): ● Introducció de diversos elements de percussió, instruments de vent i cordes ● Enregistrament a l'uníson ● Grans conjunts d'instruments (sobretot guitarres) ● Addició de reverberació natural in situ Què és la música digital? El productor independent: l'estudi com a instrument Teo Macero Productor predilecte de Miles Davis, la seva principal aportació és la introducció de la tècnica del cut & paste, inspirat per l'obra Poème electronique d'Edgard Varèse. Citat per Brian Eno com a referència fonamental. Què és la música digital? El productor independent: l'estudi com a instrument Berry Gordy vs Marvin Gaye Fundador de l'imperi Motown Records, Gordy és un exemple de cas d'èxit basat en el talent personal, la minuciositat i el control total, sovint desmesurat, sobre els seus artistes. I Marvin Gaye, en un exemple de producció total: l'obra mestra What's going on?, influent i ultrasofisticat àlbum que Gordy, d'entrada, es negà a publicar per considerar-lo “massa polític”. Què és la música digital? El productor independent: l'estudi com a instrument King Tubby i Lee Scratch Perry Dos llegendaris productors jamaicans autodidactes dels anys 60 i 70, pares del dub i el remixing, durant l'eclosió dels sound systems. “El verbo dub significa, en inglés, hacer una copia de un disco en otro. El proceso utilizado por los productores jamaiquinos cuando realizaban dubs era utilizar material previamente no grabado, modificando el material, y posteriormente grabarlo en un nuevo máster, procediendo de hecho a transferir o "dub" el material.” http://es.wikipedia.org/wiki/Dub Què és la música digital? El productor independent: l'estudi com a instrument Frank Zappa “For Zappa, the tape recorder was also something of a time machine, a locus for transforming reality” Moorefield, Virgil. The producer as composer: shaping the sounds of popular music. P. 38. Què és la música digital? El productor independent: l'estudi com a instrument Frank Farian Famós productor alemany amb més de 800 discos d'or i platí, Farian fou un dels arquitectes del so eurodance. Pare de projectes com Boney M i... Milli Vanilli. Cas il·lustratiu de la magnitud del potencial poder de manipulació del productor musical. Què és la música digital? El productor independent: l'estudi com a instrument DJ Shadow Josh Davis és un dels productors més influents de les darreres dues dècades i autor d'Endtroducing (1996), un àlbum construït a partir de samples d'altres artistes i considerat un dels millors discos de tots els temps.
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