CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarlyCommons@Penn University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2007-2008: Penn Humanities Forum Undergraduate Research Origins Fellows April 2008 When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno David Reinecke University of Pennsylvania Follow this and additional works at: http://repository.upenn.edu/uhf_2008 Reinecke, David, "When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno" (2008). Undergraduate Humanities Forum 2007-2008: Origins. 9. http://repository.upenn.edu/uhf_2008/9 2007-2008 Penn Humanities Forum on Origins, Undergraduate Mellon Research Fellows. URL: http://humanities.sas.upenn.edu/07-08/uhf_fellows.shtml This paper is posted at ScholarlyCommons. http://repository.upenn.edu/uhf_2008/9 For more information, please contact
[email protected]. When I count to four…: James Brown, Kraftwerk, and the practice of musical time-keeping before Techno Abstract "Of all creative artists," wrote Hector Berlioz in his famous orchestration treatise, "the composer is almost the only one to depend on a host of intermediaries between him and his audience" (Berlioz, 2002 [1856]: 336). These intermediaries – the orchestra and its leader and time keeper, the conductor – "may be intelligent or stupid, devoted or hostile, energetic or lazy; from first to last they can contribute to the glory of [the] work, or they can spoil it, insult it, or even wreck it completely" (Ibid.). From written score to performance, realizing a composer's work of music becomes an acute problem of both collective action and aesthetic interpretation.