ECU Libraries Catalog
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LEADER 03494cam 2200505 i 4500
001
on1372621171
003
OCoLC
005
20240229145924.8
008
230414t20232023iluag b 001 0 eng
010
a| 2023016766
040
a| ICU/DLC
b| eng
e| rda
c| DLC
d| OCLCF
d| OCLCO
d| UKMGB
d| OCLCQ
d| ERASA
d| YDX
d| OCLCO
d| CGU
019
a| 1372621127
020
a| 9780226830094
q| hardcover
020
a| 0226830098
q| hardcover
020
a| 9780226830117
q| paperback
020
a| 022683011X
q| paperback
020
z| 9780226830100
q| electronic book
035
a| 40032185246
035
a| (OCoLC)1372621171
z| (OCoLC)1372621127
042
a| pcc
050
0
0
a| ML1050
b| .L68 2023
082
0
0
a| 786
2| 23/eng/20230501
100
1
a| Loughridge, Deirdre,
e| author.
=| ^A1316196
245
1
0
a| Sounding human :
b| music and machines, 1740/2020 /
c| Deirdre Loughridge.
260
a| Chicago :
b| The University of Chicago Press,
c| 2023.
300
a| xi, 238 pages :
b| illustrations (black and white), music ;
c| 23 cm.
336
a| text
b| txt
2| rdacontent
337
a| unmediated
b| n
2| rdamedia
338
a| volume
b| nc
2| rdacarrier
490
1
a| New material histories of music
504
a| Includes bibliographical references and index.
505
0
a| Introduction. Sounding human with machines -- Becoming android: reinterpreting the automaton flute player -- Hybrids: voice & resonance -- Analogies: Diderot's harpsichord & Oram's machine -- Personifications: piano death & life -- Genres of being posthuman: chopped & pitched -- Coda. Learning machines.
520
a| 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 this book, the author tests and traverses these boundaries, unmaking the "human or machine" logic and seeking out others, better characterized by conjunctions such as and or with. This book 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. The author expertly traces this debate from the 1737 invention of what became the first musical android to the creation of "sound wave instruments" 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, this book shows how machines have always actively shaped the act of music composition. In doing so, the author reveals how musical artifacts have been-or can be-used to help explain and contest what it is to be human.
630
0
0
a| Auto-tune (Computer file)
?| UNAUTHORIZED
650
0
a| Mechanical musical instruments
x| History.
?| UNAUTHORIZED
650
0
a| Music and technology
x| History.
=| ^A390482
650
0
a| Electronic music
x| History and criticism.
=| ^A34792
650
0
a| Music
x| Performance
x| Philosophy and aesthetics.
=| ^A31205
650
0
a| Popular music
x| Production and direction.
=| ^A47423
830
0
a| New material histories of music.
?| UNAUTHORIZED
949
o| jjlm
960
o| 1
s| 105.00
t| JMUSIC53
u| JAPP
z| USD
998
a| 6321570
596
a| 3
999
a| ML1060 .L68 2023
w| LC
c| 1
i| 30372017615573
f| 4/4/2024
g| 1
l| MST
m| JMUSIC
r| Y
s| Y
t| MGESBK
u| 3/26/2024
x| BOOK
z| MCIRC
o| .STAFF. jjam