By Julian Colbeck, Alan Parsons
Publish yr note: First released in 2012
More than just the ebook of the award-winning DVD set, Art & technological know-how of Sound Recording, the publication takes mythical engineer, manufacturer, and artist Alan Parsons' methods to sound recording to the subsequent point. In e-book shape, Parsons has the distance to incorporate extra technical history details, extra specific diagrams, plus a whole set in fact notes on all the 24 subject matters, from "The short historical past of Recording" to the now-classic "Dealing with Disasters."
Written with the DVD's coproducer, musician, and writer Julian Colbeck, ASSR, the booklet deals readers a vintage "big picture" view of contemporary recording expertise at the side of a virtually encyclopedic record of particular concepts, methods, and gear. For all its heft and authority authored via a guy proficient at London's famed Abbey highway studios within the Nineteen Seventies ASSR, the ebook is additionally written in simple English and is full of invaluable anecdotes from Alan Parsons' personal occupation operating with the Beatles, purple Floyd, and numerous others.
Not simply informative, but additionally hugely exciting and inspirational, ASSR, the booklet is the proper platform on which to construct services within the paintings and technology of sound recording.
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Additional resources for Alan Parsons' Art & Science of Sound Recording: The Book
How sad is that! And why did we all allow the Germans to set the rules? The Spiritual also makes appearances now and then in post-war music. It is no accident that our eighteenth-century philosophers avoided listing this among their categories, for they sought to establish secular alternatives to systems based on Christian precepts. Among the religious masterworks written by twentieth-century composers ordinarily associated with the modernist Sublime are Stravinsky’s Symphony of Psalms and Schoenberg’s Moses and Aron.
Considering how Boulez generates his material in relation to serial structures, the chapter concludes that the degree of free choice may be far more than usually acknowledged, pointing back to the idea of aesthetic judgement in the Third Critique by Kant at the onset of modernity. This reading of Boulez evokes a complex and paradoxical relation of tradition and innovation, system and free aesthetic choice in his modernist project. Boulez’s changing experience as a conductor of earlier modernist music, and then romantic repertoire, including Wagner and Mahler, ﬁnds fascinating parallels elsewhere in the changing aesthetics of new music.
Yet something else has occurred in the intervening years, namely the rise of a new, twenty-ﬁrst-century version of modernism. For the avant-garde of the 1950s now has – in addition to its Oedipal rebels – some highly productive and successful progeny. Composers such as Kaija Saariaho, Salvatore Sciarrino and George Benjamin, unwilling to throw out the baby with the bathwater, have returned to techniques and sonorities pioneered by Messiaen, Boulez and others. In contrast to some of their predecessors, however, these artists openly acknowledge the expressive and rhetorical power of their strategies.