DOCSLIB.ORG

The Industrial Evolution of the Arts: Chicago’S Auditorium Building (1889€“) As Cultural Machine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Industrial Evolution of the Arts: Chicago’S Auditorium Building (1889€“) As Cultural Machine The Industrial Evolution of the Arts: Chicago’s Auditorium Building (1889–) as Cultural Machine Mark Clague The Opera Quarterly, Volume 22, Number 3-4, Summer-Autumn 2006, pp. 477-511 (Article) Published by Oxford University Press For additional information about this article http://muse.jhu.edu/journals/opq/summary/v022/22.3-4.clague.html Access Provided by University of Michigan @ Ann Arbor at 11/02/12 3:58PM GMT The Industrial Evolution of the Arts: Chicago’s Auditorium Building (1889–) as Cultural Machine {mark clague} Chicago had had the biggest conflagration “in the world.” It was the biggest grain and lumber market “in the world.” It was the greatest railroad center, the greatest this, and the greatest that. The shouters could not well be classed with the prover- bial liars of Ecclesiastes, because what they said was true; and had they said, in the din, we are the crudest, rawest, most savagely ambitious dreamers and would-be doers in the world, that also might be true. ... These men had vision. What they saw was real, they saw it as destiny. —Auditorium architect Louis Sullivan1 American Opera as Institute: Engaging Society, Finance, and Art In his closing remarks at the First Chicago Opera Festival on April 18, 1885, real estate mogul Ferdinand Peck introduced the public to his idea of building a per- manent home for grand opera in Chicago—what four years later would become the Auditorium Building (fig. 1). Addressing the audience in his role as festival president, Peck proclaimed the extraordinary success of the two-week, fourteen- performance gala, which had included works by Bellini (I puritani and La son- nambula), Donizetti (Lucia di Lammermoor and Linda di Chamounix), Gounod (Faust and Mireilla), Meyerbeer (L’Africaine), Rossini (Semiramide), Verdi (Aida and Il trovatore), Wagner (Lohengrin), and Weber (Der Freischu¨tz), plus stars such as sopranos Adelina Patti and Emma Nevada and contralto Sofia Scalchi.2 He highlighted what was believed to be world-record attendance (possibly over ninety to one hundred thousand people)3 and revenues ($132,000)4 for such a festival by suggesting that these results justified the construction of a permanent opera house. With effusive pride the Chicago Tribune reported that [Peck] desired to thank the people of this city for their generous attendance upon Chicago’s first opera festival. It had been a success in every respect, and the man- agement had done its best to accommodate and please the public. Their motto had been “Music for the people”—splendid music, interpreted by the first artists The Opera Quarterly Vol. 22, No. 3–4, pp. 477–511; doi: 10.1093/oq/kbn007 Advance Access publication on June 26, 2008 # The Author 2008. Published by Oxford University Press. All rights reserved. For permissions, please e-mail: [email protected]. 478 mark clague Figure 1 Chicago’s Auditorium Building, c. 1889. The tower marks the entrance to the theater, while the three arches facing the park offer entry to the hotel. Photo from America from Alaska to the Gulf of Mexico, Series 1, ed. G. R. Cromwell (New York: James Clarke, 1894). of the world. The management had accomplished a task that could have been accomplished in no other city in the world—that of constructing this great auditor- ium in six weeks and producing upon its stage thirteen different operas. This had shown what Chicago would and could do, and he hoped that people would look upon this as a stepping-stone to a great permanent hall where similar enterprises would have a home. [Applause.]5 Peck rode the tide of applause to assert Chicago’s needs for a large public auditor- ium and preached the advantages of such a hall. He saw in music, and opera in particular, a means for the city and its people to fulfill their pioneering destiny— a way to provide for the continuing refinement of the civic enterprise. The Tribune continued, quoting from Peck’s speech: The continuation of this annual festival, with magnificent music, at prices within the reach of all, would have a tendency to diminish crime and Socialism in our city by educating the masses to higher things. [Applause ...] In conclusion, [Peck] desired to express his thanks to the directors who had assisted him so materially, to the men in the employ of the association, to the industrial evolution of the arts 479 Mr. Milward Adams, who had so ably cared for the public in the auditorium, and to the press of the Northwest, which had been so magnanimous in its treatment of the enterprise. The festival had been given with no regard to monetary gain, and it had been a great success socially, financially, and artistically. [Applause.]6 This tripartite combination of social, financial, and artistic components generated, along with civic pride, the impulse behind Chicago’s Auditorium Building (1889– ). Architects Dankmar Adler and Louis Sullivan typically are credited by historians with its design, which would be true if the building could be considered as distinct from its social and artistic context. In this sense, however, Ferdinand Peck (fig. 2) should be considered one of the principal designers of the Auditorium Building as social project. The structural ingenuity necessary to create this building required not just new strategies of integrating iron and masonry, balancing enormous loads on floating foundations, and enhancing space with allegorical art nouveau decora- tion; it also required the engineering of cultural production—the adaptation of European musical practice to a Gilded Age American industrial city. Figure 2 Ferdinand Wythe Peck (1848–1924), the social entrepreneur driving the Auditorium project. From W. S. B. Mathews, A Hundred Years of Music in America (Chicago: G. L. Howe, 1889), 321. 480 mark clague Figure 3 Conceptual mechanism of Chicago’s Auditorium Theater as expressed by Peck. Presented as three interlocking gears (figure created by author). Peck’s innovation was the creation of a mechanism for producing opera—a cul- tural machine—that envisioned the work of culture as the mutual interdependence of social, financial, and artistic components. The Chicago Opera Festival, which used a temporary wooden theater designed by Adler and Sullivan to Peck’s require- ments, served as the test case—the prototype—to demonstrate the practical utility of his design.7 Figure 3 illustrates the fundamental conception of Peck’s invention by showing each of these three components as gears, in which the motion of one requires the motion of all and the movement of any propels the system as a whole. Thus an artistic triumph would drive ticket sales and bring the community together in a shared experience. A huge donation would pay the fees for increas- ingly famous artists, who in turn would attract audiences and sell more tickets. The hosting of a charity concert would bring in money for a social cause and thus provide for yet more performances. Similarly, impedance in any part would detract from the whole: artistic failure, social scandal, or financial distress would each add friction, reducing the musical productivity of such a cultural engine. In sum, this multigeared mechanism, integrating the financial, artistic, and social resources of an institutional system, may be seen as guiding the production of culture in Chicago explicitly in terms of the Auditorium but also as an intriguing analytical approach for understanding cultural institutions in other contexts. The Auditorium Building: Balancing the Social, Financial, and Artistic In western European musical parlance, “opera house” refers to a theater built for the presentation of drama in which the actors generally sing throughout. Yet nineteenth-century America, in an essentially postcolonial context with its attendant anxieties over cultural legitimacy, incorporated the notion of an “opera” house or house for opera differently, ironically connecting more to its Latin etymological roots than to European usage. The word opera came through Latin into Italian, where it developed into a specific musical term from its the industrial evolution of the arts 481 origins as the plural of opus, meaning “work.” The American opera house like- wise has been a plural conception: a multiuse civic space performing a variety of cultural work: economic, social, and artistic. This fusing of civic, business, and artistic functions was increasingly true in the late nineteenth century and outside the major urban centers, when the desire for the prestige of an opera house encouraged smaller and less affluent communities to build their own. By combining functions, the cost of an opera house could be spread across a number of civic initiatives, making the house for musical works into a home for many and varied uses. For example, the “opera house” (1890–) in Woodstock, Illinois, outside of Chicago also houses the public library, council chambers, justice court, and fire station, while the city hall and theater are combined in the opera house of Rochester, New Hampshire (1908–).8 Even New York’s [Old] Metropolitan Opera House (opened 1883) included street-level commercial spaces, a second floor with ballrooms and a restaurant, and apartments for bachelors in the corner blocks.9 As the realization of Peck’s vision in 1889, Chicago’s Auditorium represents the ascendancy and possibly the early apex of this many-faceted notion of the opera house as civic center. Rather than offering a home for music drama alone, it housed a consortium of private and public enterprise to invite the broadest range of patrons and their purposes through its doors. It comprised not only a state-of-the-art theater plus a smaller recital/lecture hall, but also a hotel, office and retail rental spaces, three restaurants, a bar, a music conserva- tory, a public observation deck, an artesian well, and even a Coast Guard signal station on its roof.
Load more

Recommended publications
  • Bilderna Av Kent 10/13/03 8:13
    Bilderna av Kent 10/13/03 8:13 Volume 6 (2003) © Lars Lilliestam, 2003 Bilderna av Kent En fallstudie av musikjournalistik, autenticitet och musikmytologi Lars Lilliestam INLEDNING [1] Musik och berättande Musik är mer än bara musik. Musik är mer än det som klingar. Vi hör alltid musik genom filter av förförståelse, förväntningar, fördomar eller kunskaper. Om man vill försöka förstå vilken verkan musik har och vad den betyder för människor, måste man ta i beaktande vad människor berättar om musiken. Berättandet – vad som skrivs om musik och hur människor talar om musik – laddar musiken med föreställningar, ideologier, värden. Mening uppstår när musiken, människan och berättelserna om musiken möts. Vi tänker, talar eller läser om musik för att bearbeta och jämföra våra egna upplevelser med andras. Genom denna process skapar och utvecklar vi en inre bild av musiken och upplevelsen av den. Berättelser om musiker, musikskapare, musikverk eller låtar, gåtor och oklarheter i verks historia, uttolkningar, tragiska eller på annat sätt fascinerande och gripande levnadsöden och skandaler färgar upplevelsen av musiken. Tänk på historierna om Beethovens dövhet, skandalerna vid premiären av Stravinskijs Våroffer 1913, Bob Dylans framträdande vid Newport Folk Festival 1965, eller mysteriet kring bluessångerskan Bessie Smiths död... Kring artister och genrer spinns en samling berättelser och anekdoter (skrönor, myter, legender) av olika slag – ett narrativ. Dessa berättelser sprids i olika former (intervjuer, reportage, biografier, historiska översikter, recensioner, krönikor) i olika medier (fack- och dagspress, böcker, tv, radio, internet) och muntligen man och man emellan i ett komplicerat och näst intill oöverblickbart spel. Vissa berättelser kan vara skapade av exempelvis ett skivbolag i syfte att understryka en viss image, andra har sitt upphov bland publik, fans eller skribenter.
    [Show full text]
  • Report of the President, Bowdoin College 1987-1988
    Bowdoin College Bowdoin Digital Commons Annual Report of the President Special Collections and Archives 1-1-1988 Report of the President, Bowdoin College 1987-1988 Bowdoin College Follow this and additional works at: https://digitalcommons.bowdoin.edu/presidents-reports Recommended Citation Bowdoin College, "Report of the President, Bowdoin College 1987-1988" (1988). Annual Report of the President. 97. https://digitalcommons.bowdoin.edu/presidents-reports/97 This Book is brought to you for free and open access by the Special Collections and Archives at Bowdoin Digital Commons. It has been accepted for inclusion in Annual Report of the President by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Report of the President 1987— 1988 BOWDOIN COLLEGE Brunswick, Maine Digitized by the Internet Archive in 2013 http://archive.org/details/reportofpresiden19871bowd Report of the President 1987— 1988 BOWDOIN COLLEGE Brunswick, Maine Composed by Partners Composition, Utica, New York Printed by Salina Press, East Syracuse, New York Report of the President To the Trustees and Overseers of Bowdoin College: I have the honor of submitting the following report for the academic year 1987— 1988. Last year's report was devoted largely to a discussion of Bowdoin's successful reaccreditation review. I enjoyed the opportunity to pass along the many good things said about Bowdoin, while acknowledging that Bowdoin, like all institutions, had some challenges still to meet. The report concluded with a discussion of those steps being taken to ensure that each challenge would be addressed. This year's report will in part continue to address those concerns as I review the accomplishments of the College.
    [Show full text]
  • Black Feminist Thought
    Praise for the first edition of Black Feminist Thought “The book argues convincingly that black feminists be given, in the words immor- talized by Aretha Franklin, a little more R-E-S-P-E-C-T....Those with an appetite for scholarese will find the book delicious.” —Black Enterprise “With the publication of Black Feminist Thought, black feminism has moved to a new level. Collins’ work sets a standard for the discussion of black women’s lives, experiences, and thought that demands rigorous attention to the complexity of these experiences and an exploration of a multiplicity of responses.” —Women’s Review of Books “Patricia Hill Collins’ new work [is] a marvelous and engaging account of the social construction of black feminist thought. Historically grounded, making excellent use of oral history, interviews, music, poetry, fiction, and scholarly literature, Hill pro- poses to illuminate black women’s standpoint. .Those already familiar with black women’s history and literature will find this book a rich and satisfying analysis. Those who are not well acquainted with this body of work will find Collins’ book an accessible and absorbing first encounter with excerpts from many works, inviting fuller engagement. As an overview, this book would make an excellent text in women’s studies, ethnic studies, and African-American studies courses, especially at the upper-division and graduate levels. As a meditation on the deeper implications of feminist epistemology and sociological practice, Patricia Hill Collins has given us a particular gift.” —Signs “Patricia Hill Collins has done the impossible. She has written a book on black feminist thought that combines the theory with the most immediate in feminist practice.
    [Show full text]
  • Producer in the Experience Economy
    J ÖNKÖPING I NTERNATIONAL B USINESS S C H O O L JÖNKÖPING UNIVERSITY Producer in the Experience Economy How to deliver experiences Master Thesis in Business Administration Author: Claesson, Mikaela Nordell, Nina Tutor: Gustafsson, Karl Erik Jönköping June 2006 I NTERNATIONELLA H ANDELSHÖGSKOLAN HÖGSKOLAN I JÖNKÖPING Att vara producent i Upplevelsesamhället Konsten att leverera upplevelser Magisteruppsats inom Företagsekonomi Författare: Claesson, Mikaela Nordell, Nina Handledare: Gustafsson, Karl-Erik Jönköping Juni 2006 Preface The authors would like to give their warmest thanks to the companies that took part in this thesis. These are; Aftonbladet, Air Historic Research AB, Arkitekthuset Jönköping AB, Bonnier Responsmedier Group AB, Complete Film & Multimedia AB, Företags Catering AB, Galleri Bergström, Ord & Form, PowerHouse, Skivfynd, Struktur Design, Skånes Dansteater, the anonymous fashion company and West Vilt. The authors would also like to thanks their supervisor Karl Erik Gustafsson for his supervi- sion and helpful advices during the master thesis. Mikaela Claesson Nina Nordell i Master TThesishesis ininin Business AdministrAdministraaaationtion Title: Producer in the Experience Economy --- How to deliver experiences Authors: Claesson, Mikaela Nordell, Nina Tutor: Gustafsson, KarlKarl----ErikErik Date : 20062006----06060606----02020202 Subject terms: Experience EcEcEconomy,Ec onomy, Experience SocietySociety,, Value AAddedddeddded,, B, BrandB rand Abstract Background and problem: Experiences have become a new trend within the world economy today and a new way to add value to companies. A new economy is emerging named the Experience Economy. The customers’ demands of experiences are increasing and companies need to satisfy these demands and adapt them- selves to this emerging economy. The Experience Economy is today the fastest growing industry in Sweden and has grown steadily during the last decade.
    [Show full text]
  • The Representation of Disability in the Music of Alfred Hitchcock Films John T
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 The Representation of Disability in the Music of Alfred Hitchcock Films John T. Dunn Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Dunn, John T., "The Representation of Disability in the Music of Alfred Hitchcock Films" (2016). LSU Doctoral Dissertations. 758. https://digitalcommons.lsu.edu/gradschool_dissertations/758 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE REPRESENTATION OF DISABILITY IN THE MUSIC OF ALFRED HITCHCOCK FILMS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John Timothy Dunn B.M., The Louisiana Scholars’ College at Northwestern State University, 1999 M.M., The University of North Texas, 2002 May 2016 Acknowledgements I would like to thank my family, especially my wife, Sara, and my parents, Tim and Elaine, for giving me the emotional, physical, and mental fortitude to become a student again after a pause of ten years. I also must acknowledge the family, friends, and colleagues who endured my crazy schedule, hours on the road, and elevated stress levels during the completion of this degree.
    [Show full text]
  • German Writers on German Opera, 1798–1830
    ! "# $ % & % ' % !"# $!%$! &#' !' "(&(&()(( *+*,(-!*,(."(/0 ' "# ' '% $$(' $(#1$2/ 3((&/ 14(/ Propagating a National Genre: German Writers on German Opera, 1798–1830 A Dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Kevin Robert Burke BM Appalachian State University, 2002 MM University of Cincinnati, 2004 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Standard histories of Western music have settled on the phrase “German Romantic opera” to characterize German operatic developments in the early part of the nineteenth century. A consideration of over 1500 opera reviews from close to thirty periodicals, however, paints a more complex picture. In addition to a fascination with the supernatural, composers were drawn to a variety of libretti, including Biblical and Classical topics, and considered the application of recitative and other conventions most historians have overlooked because of their un-German heritage. Despite the variety of approaches and conceptions of what a German opera might look like, writers from Vienna to Kassel shared a common aspiration to develop a true German opera. The new language of concert criticism found from specialized music journals like the Allgemeine musikalische Zeitung to the entertainment inserts of feuilletons like the Zeitung für die elegante Welt made the operatic endeavor of the early nineteenth century a national one rather than a regional one as it was in the eighteenth century. ii Copyright 2010, Kevin Robert Burke iii ACKNOWLEDGEMENTS First, I would like to offer gratitude to all my colleagues, friends, and family who supported me with encouraging words, a listening ear, and moments of celebration at the end of each stage.
    [Show full text]
  • Learning Through Producing
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Aleksi Ojala Aleksi Learning Through Producing Learning Through Learning Through Producing ISBN: 978-952-329-087-7 (PRINTED) ISBN: 978-952-329-088-4 (PDF) STUDIA MUSICA 74 (ISSN 0788-3757) The Pedagogical and Technological Redesign of a Compulsory Music Course for JUVENES PRINT TAMPERE 2017 Finnish General Upper Secondary Schools ALEKSI OJALA 74 STUDIA STUDIA MUSICA APPLIED STUDY PROGRAMME MuTri DOCTORAL SCHOOL MUSICA 74 THE SIBELIUS ACADEMY OF THE UNIVERSITY OF THE ARTS HELSINKI Learning Through Producing: The Pedagogical and Technological Redesign of a Compulsory Music Course for Finnish General Upper Secondary Schools Aleksi Ojala Studia Musica 74 2 The Sibelius Academy of the University of the Arts Helsinki Studia Musica 74 Sibelius Academy Faculty of Music Education, Jazz, and Folk Music (MuTri) Doctoral School Learning Through Producing: Pedagogical and Technological Redesign of a Com- pulsory Music Course for Finnish General Upper Secondary Schools Tuottamispohjainen oppiminen: Lukion pakollisen musiikin kurssin pedagoginen ja teknologinen uudelleensuunnittelu © 2017 Aleksi Ojala Cover design: Jan Rosström Layout: Juvenes Print Printhouse: Juvenes Print ISBN 978-952-329-087-7 (print) ISBN 978-952-329-088-4 (PDF) (ISSN: 0788-3757) 3 4 5 Abstract This scientifically oriented applied study is comprised of two blind peer-reviewed articles, two sets of e-learning materials, and a summary report. The study
    [Show full text]
  • The Inclusive Experience in British Progressive Rock of the 1960S and 1970S
    Listening to images, reading the records: The inclusive experience in British progressive rock of the 1960s and 1970s Tymon Adamczewski, Kazimierz Wielki University in Bydgoszcz Abstract The article concerns the form of experience offered by the British progressive rock of the late 1960s and early 1970s in the light of the tendency to view the genre through the prism of modernism. The materiality of key musical albums within the genre—through elaborate aesthetic construction and reliance on literary ideas—played an indispensable role in interacting with the records. I argue that through constructing a narrative message in the form of record covers, progressive rock could be treated as a literary form which functions according to what Nicholas Royle describes as veering and which allows to avoid problems associated with considering the genre as modern or postmodern. Key words: experience, progressive rock, veering, postmodernism Introduction The two paintings have a lot in common: an attempt to render feelings of distress, desperation and a sense of urgency in reaching out to the audience. Both are images of iconic status; both are similarly expressionistic in representing their subject matter and, significantly, both depict screaming figures. In fact, the paintings in question, Edvard Munch’s The Scream (1893) and the cover of King Crimson’s In the Court of the Crimson King (1969), are not only documents of their zeitgeist but may still have an important story to tell about the overlapping areas in the experience of images, music and words. Munch’s chronologically earlier painting, widely acknowledged as an epitome of modernist art, is an easily identifiable inspiration for Barry Goldber’s emblematic record cover of what is often considered as one of the defining examples of progressive rock.
    [Show full text]
  • From the Hill Vol
    Notes fRom the Hill Vol. 13 • March 2015–16 JOHNNY JOHNSON PLAYS TO FULL HOUSES 1936 Musical by Kurt Weill and N.C. playwright Paul Green Carter spent almost a decade digging through the Library of Congress, the New York Public Library, and libraries at UNC- CH and Yale University. He found the original handwritten and typescript librettos, as well as Weill’s music manuscripts. Carter also uncovered the first sets of instrumental parts to understand what the Group Theatre did when first performing "Johnny Johnson" on Broadway in November 1936. He then looked at Paul Green's revised text for the Federal Theatre Project production in Los Angeles in May 1937. The few subsequent performances took a much cut-down version that reordered the scenes and omitted a great deal of music that needed putting back into the frame. The new UNC production directed by Serena Ebhardt involved a large cast of music and dramatic arts students, plus an instrumental ensemble directed by Evan Feldman. “This is exactly what universities should be doing,” Carter said. “A scholarly edition is one thing and a performance another, and he UNC-CH production of Paul Green and Kurt Weill’s I was astonished by the wonderful things that happened when Tmusical play "Johnny Johnson" in the Fall semester "Johnny Johnson" moved from the page to the stage. Things 2014 continued a series of remarkably fruitful collaborations that I could only imagine were brought to theatrical life in between the UNC departments of Music and of Dramatic Art. remarkable ways.” The packed audiences in the Kenan Theatre There's one long story of how Green, a famous North Carolina seem to have agreed.
    [Show full text]
  • How the Internet Facilitates the Activity Within a Consumer Culture - a Study of the Online Vinyl Record Network
    UPPSALA UNIVERSITY Department of Business Studies Master Thesis Autumn 2009 Tutor: James Sallis How the Internet Facilitates the Activity within a Consumer Culture - A Study of the Online Vinyl Record Network David Broman 2009-06-02 Stefan Söderlindh Abstract The purpose of this thesis is to describe and analyze how the online vinyl record network functions from both a consumer and retailer perspective, in order to gain an understanding of how the Internet facilitates the activity within a consumer culture. The vinyl record industry is experiencing a revival, with an upswing in sales and media attention and a significant increase in the amount of online trading. This inductive study contains data from qualitative interviews with ten vinyl record consumers and four vinyl record retailers, as well as observations of three relevant online forums. The study shows that the online vinyl record network is an e-tribe built upon a number of genre- specific member groups where the Internet facilitates consumption by informing, inspiring, and allowing network members to interact. Among the respondents, consumers with sufficient resources in their offline network rely to a lesser extent on their online network for interaction. The study further indicates that retailers have little influence on the network, compelling them to adapt the information and structure of their marketing activities to the preferences of the individual consumer groups. In all, the online vinyl record network does contribute to the recent growth of the vinyl record industry. Important Definitions Consumer Culture – A culture that comes into existence as people identify with certain objects or consumption activities and, through those objects or activities, identify with other people.
    [Show full text]
  • Capturing-Sound-How-Technology-Has-Changed-Music.Pdf
    ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. This publication has been supported by a subvention from the Gustave Reese Publication Endowment Fund of the American Musicological Society. The publisher gratefully acknowledges the generous contribution to this book provided by the Music in America Endowment Fund of the University of California Press Associates, which is supported by a major gift from Sukey and Gil Garcetti, Michael Roth, and the Roth Family Foundation. CAPTURING SOUND H O W CAPT T U E C R H N I O N L O G G Y S UNIVERSITY OF CALIFORNIA PRESS H A S O C H U A N N G E D D M BERKELEY LOS ANGELES LONDON U S I C tz mark ka University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England “The Entertainer” written by Billy Joel © 1974, JoelSongs [ASCAP]. All rights reserved. Used by permission. © 2004 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Katz, Mark, 1970–. Capturing sound : how technology has changed music / Mark Katz. p. cm. Includes bibliographical references and index. ISBN 0-520-24196-7 (cloth : alk. paper)— ISBN 0-520-24380-3 (pbk. : alk. paper) 1. Sound recording industry. 2. Music and technology. I. Title. ml3790.k277 2005 781.49—dc22 2004011383 Manufactured in the United States of America 13 12 11 10 09 08 07 06 05 04 10987654 321 The paper used in this publication is both acid-free and totally chlorine-free (TCF).
    [Show full text]
  • THE CREATIVE PROCESS of COMPUTER-ASSISTED COMPOSITION and MULTIMEDIA COMPOSITION — VISUAL IMAGES and MUSIC Chi Wai Chen Bmus
    THE CREATIVE PROCESS OF COMPUTER-ASSISTED COMPOSITION AND MULTIMEDIA COMPOSITION — VISUAL IMAGES AND MUSIC Chi Wai Chen BMus (University of Missouri – Kansas City Conservatory of Music) Dip Ed (Hong Kong Baptist University) MA (Hong Kong Baptist University) A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education, Portfolio of Design and Social Context Royal Melbourne Institute of Technology (RMIT University) Dec 2006 © 2006 Chi Wai Chen ALL RIGHTS RESERVED 1 DECLARATION To the best of my knowledge and belief, this thesis contains no material previously published or written by any other person, except where due acknowledgment has been made in the text. This thesis has not been submitted previously, in whole or in part, to qualify for any other academic award. The content of this thesis is the result of work which has been carried out since the official commencement date of the approved research program. ………………………………….. Chi Wai Chen i TABLE OF CONTENTS Page Table of Contents ii List of Tables xii List of Figures xvi Terms and Abbreviations xx Glossary xxii Acknowledgement xxiv Abstract xxv Chapters 1 Introduction 1 1.1 THE PURPOSE OF THE RESEARCH 1 1.2 SCOPE OF THE STUDY 1 1.3 RATIONALE 2 1.3.1 Broader elements of the Rationale 4 1.3.2 Definition of the Problem 4 1.4 RESEARCH QUESTIONS 5 1.5 METHODOLOGY 5 1.6 MAIN DEFINITIONS 7 1.6.1 Creative Process and Product 7 1.6.2 Computer-assisted Composition 7 1.6.3 Multimedia 8 1.6.4 Creativity 8 ii 1.6.5 Digital Audio Workstation
    [Show full text]