Sounding Human
Music and Machines, 1740/2020
Seiten
2024
University of Chicago Press (Verlag)
978-0-226-83009-4 (ISBN)
University of Chicago Press (Verlag)
978-0-226-83009-4 (ISBN)
An expansive analysis of the relationship between human and machine in music.
From the mid-eighteenth century on, there was a logic at work in musical discourse and practice: human or machine. That discourse defined a boundary of absolute difference between human and machine, with a recurrent practice of parsing “human” musicality from its “merely mechanical” simulations. In Sounding Human, Deirdre Loughridge tests and traverses these boundaries, unmaking the “human or machine” logic and seeking out others, better characterized by conjunctions such as and or with.
Sounding Human enters the debate on posthumanism and human-machine relationships in music, exploring how categories of human and machine have been continually renegotiated over the centuries. Loughridge expertly traces this debate from the 1737 invention of what became the first musical android to the creation of a “sound wave instrument” by a British electronic music composer in the 1960s, and the chopped and pitched vocals produced by sampling singers’ voices in modern pop music. From music-generating computer programs to older musical instruments and music notation, Sounding Human shows how machines have always actively shaped the act of music composition. In doing so, Loughridge reveals how musical artifacts have been—or can be—used to help explain and contest what it is to be human.
From the mid-eighteenth century on, there was a logic at work in musical discourse and practice: human or machine. That discourse defined a boundary of absolute difference between human and machine, with a recurrent practice of parsing “human” musicality from its “merely mechanical” simulations. In Sounding Human, Deirdre Loughridge tests and traverses these boundaries, unmaking the “human or machine” logic and seeking out others, better characterized by conjunctions such as and or with.
Sounding Human enters the debate on posthumanism and human-machine relationships in music, exploring how categories of human and machine have been continually renegotiated over the centuries. Loughridge expertly traces this debate from the 1737 invention of what became the first musical android to the creation of a “sound wave instrument” by a British electronic music composer in the 1960s, and the chopped and pitched vocals produced by sampling singers’ voices in modern pop music. From music-generating computer programs to older musical instruments and music notation, Sounding Human shows how machines have always actively shaped the act of music composition. In doing so, Loughridge reveals how musical artifacts have been—or can be—used to help explain and contest what it is to be human.
Deirdre Loughridge is associate professor in the Department of Music at Northeastern University. She is the author of Haydn’s Sunrise, Beethoven’s Shadow: Audiovisual Culture and the Emergence of Musical Romanticism and coeditor of The Science-Music Borderlands: Reckoning with the Past and Imagining the Future.
List of Audio Examples
Introduction: Sounding Human with Machines
1: Becoming Android: Reinterpreting the Automaton Flute Player
2: Hybrids: Voice & Resonance
3: Analogies: Diderot’s Harpsichord & Oram’s Machine
4: Personifications: Piano Death & Life
5: Genres of Being Posthuman: Chopped & Pitched
Coda: Learning Machines
Acknowledgments
Notes
Works Cited
Index
| Erscheinungsdatum | 05.12.2023 |
|---|---|
| Reihe/Serie | New Material Histories of Music |
| Zusatzinfo | 42 halftones |
| Sprache | englisch |
| Maße | 152 x 229 mm |
| Gewicht | 426 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre |
| Geschichte ► Teilgebiete der Geschichte ► Technikgeschichte | |
| ISBN-10 | 0-226-83009-8 / 0226830098 |
| ISBN-13 | 978-0-226-83009-4 / 9780226830094 |
| Zustand | Neuware |
| Haben Sie eine Frage zum Produkt? |
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