Capturing Sound: How Technology Has Changed Music, Volume 1

University of California Press, 2004 – Music – 276 pages

There is more to sound recording than just recording sound. Far from being simply a tool for the preservation of music, the technology is a catalyst. This is the clear message of Capturing Sound, a wide-ranging, deeply informative, consistently entertaining history of recording’s profound impact on the musical life of the past century, from Edison to the Internet.  In a series of case studies, Mark Katz explores how recording technology has encouraged new ways of listening to music, led performers to change their practices, and allowed entirely new musical genres to come into existence. An accompanying CD, featuring thirteen tracks from Chopin to Public Enemy, allows readers to hear what Katz means when he discusses music as varied as King Oliver’s “Dippermouth Blues,” a Jascha Heifetz recording of a Brahms Hungarian Dance, and Fatboy Slim’s “Praise You.”


cyberspace, cd, mp3. from erik satie to janet jackson. effects on listeners and digital music culture. U.S. copyright law against mp3 or p2p. examples such as edison: businessman, engineer, executive, industry. controversy with motion pictures who in 1992 launch the MPEG-I / CD, germany. experiments and devices with data sound about the sonic experience. the launch of MP3 in 1990’s. the apparition of P2P networks such NAPSTER and KAZAA. sound digital files implementation. Lawrence Lessig telling about how digital world is the world of ideas, different from the world of objects. the copyright is then a physical property. internet and digital music files change this perception. also, the portable devices. in 2000, 1 of 150 were conected to internet in AFRICA where the 0,5% of population has access to Internet.

listen the cyberspace. MP3, P2P, economic reasons. resources, ideas, and things, digital. lawrence lessing and lacan. cyperspace and real space. imaginary. simbolic. phonographs. cyberspace is teh digital network. accessibility. speed. easy. internet as territory. music. interaction labs: U.V.I. artists, research, internships, music, live, performance, live mapping, sound-art. medialabs, databases.

download 2002, 29% americans, 21% listen radio, accessibility to music, NAPSTER, cyberspace and popular music. albums and companies, idea is to buy. P2P and MP3 platforms, comercialization, playlists, affordability, burn CD, record industry, personal compilations, free loading, download, file-sharing, free internet, cd sales downturn.

collective, 2oo2, 57% buy, 24% increase buy, KAZAA download, P2P file-sharing, CD personal connection, MP3 – P2P illegal download, copyrights, record companies. RIAA vs NAPSTER. file-sharing. copyright. 2000. copying. downloading. uploading. transmiting. distributing. music composition. sound recording. NAPSTER. MORPHEUS. GROKSTER. illegal activity. suspected. bullying. hurting songwriter. revolution. change industry. industry and law. illegal file-sharing. JOHN PERRY BARLOWelectronic frontier foundation. law and population. opinion. piracy. lawrence lessig. violation of control. access, control. MP3 virtual world. file-sharing since 1998, 2003. copyright, constitutionally, copywrong, market, non-comercial. MP3, law industry. licensing system, april 2003 APPLE, launch i-tunes music store, technology, law, culture.

dj is communication, recording technology, phograph, gramophon, hip-hop, scratching, technics, vestax, numark, BPM; beats per minut. pioneeer, 1000 records available, dj, LP, CD, live performance,  logical resistance, cultural aesthetic value, interaction technology, 1980 tribal culture, messages, dj, records, scratch, mixer, movement, hand apparat, turntablism, mechanical reproduction.