Remixing Modernism: Re-imagining the music of Berg, Schoenberg and Bartók in our time
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This paper examines the recent recording of solo piano music composed in 1908. The project offers the premise that there are liberating and research-worthy possibilities for combining the two traditions of Western art music performance and contemporary sound manipulation as a compelling language to amplify artistic interpretations. This challenges a predominant approach to the recording of Classical music which promotes the illusion of capturing a concert experience and that the production decisions appear to be transparent. The paper concludes that these new recordings offer a promising route for audiences to experience the music as a virtual artwork in its own right, where the creators interrupt production conventions and otherwise spontaneous assumptions. In documenting these processes in an ongoing way, the authors seek to contribute to the understanding of artistic practice as research within the contemporary academic landscape.
Journal on the Art of Record Production
© The Author(s) 2011.The attached file is reproduced here in accordance with the copyright policy of the publisher. For information about this journal please refer to the journal’s website or contact the authors.