The shifting locus of musical experience from performance to recording to data: Some implications for music education

This paper provides a speculative history and theoretical exploration of the shifting locus of musical experience over the 20th century, from live performance to recorded and broadcast sound, and increasingly toward computer-mediated sound through new media—from performance to recording to data. The term locus is used as a placeholder for mediated networks of people, practices, institutions, and technologies. As the locus shifts from performance to recording to data, the author theorizes that habits are formed in new ways through participation in these different networks, resulting in important implications for educators. The paper also explores the subjective nature of musical experience through fiction, notably James Joyce’s “The Dead” and Richard Powers’ “Modulation.” Viewpoints of musicians emblematic of each locus are presented through the writings of John Philip Sousa and Glenn Gould, as well as the music of producer Otis Jackson Jr., better known as Madlib. The author closes with a set of issues or questions that flow from consideration of the shifting locus.
本文對二十世紀不斷變化的體驗音樂的載體進行歷史性與理論性的探索和思辨。體驗音樂的載體由最初的現場表演演變為錄音與廣播傳播的音響資源，然後又進一步發展為在電腦技術支持下的音樂傳播。簡言之，就是從表演到音像再到數據化資料。載體在本文中是指人、行為、機構以及技術之間互動的媒介的總稱。如果將體驗音樂的載體的變化理論化，我認為人們是通過新方式進行交流與互動從而形成新的創造與體驗音樂的習慣。這對教育者們有一定的啟發。本文還通過一些文學作品來探索音樂體驗的主觀性，例如 James Joyce 的小說 The Dead, 以及 Richard Powers 的小說 Modulation。除此之外還引用了一些音樂家的文章，通過他們的觀點來闡釋每一個體驗音樂載體的內涵與意義。這些音樂家們包括 John Philip Sousa 和 Glenn Gould, 以及監製者 Otis Jackson Jr. 所製作的音樂，他就是更廣為人知的 Madlib。最後本文提出了一些本人在思考變化中的音樂體驗載體過程中所想到的一些問題。 Copyright © 2018 USF CoTA School of Music.