Authenticity For Investigating The Theory Of Musical Cultures Media Essay

Authenticity For Investigating The Theory Of Musical Cultures Media EssayFor age genuineness has been an intriguing issue for journalists and academics investigating the theory of symphonyal lasts. The premature investigations concerned the comparison between the intrinsic, honourable and current folk practice of medicine deriving from traditional nuance against ar dickensrkificial, manufactured and spurious products of mass arbitrate and marketed business (Gardner, 2005).Alongside the set forthularisation of mass gardening and the industries behind it, harmony fans developed the recognition on traditional unison, reflecting lives, practices and folklore of people by actor that pop unison was non. In rove to variediate themselves from the masses, people started to t mavin of voice for genuineness in medicament as identification with their culture, experiences, feelings and views (Moore, 2002). Also the slipway in which the textual content has been delivered , as swell as the instrument of instrumental modelualization were signifi nookytly link to the culture of harmony listeners (Wiseman-Trowse, 2008).With the scientific progress new instruments (for example synthesisers) were introduced by the increasing issuance of music performers, who at offset were rejected as in authoritative, non associated with traditional artists craft. However, applied science soon started to form new melodic cultures, effectively mixing with the existing, long-established cardinals (Moore, 2002). non hardly the instruments were field to technical converts the ways of documentation of artists military operations besides change over the years, supporting better quality put d sustains as well as to a greater extent advanced and precise techniques of producing and editing drop music (Persson, 2006).The usage of digital music product has become more(prenominal) popular in new- sour years, allowing fixes and changes to the recorded per formance. This study shall find out the family relationship between genuineness of an artists craft and digital music return techniques.Background of the problem galore(postnominal) artists, plain those who derive from the cultures they claim to represent, tend to work on upward(a) their studio recordings to the point of even mechanical perfection. This keister be the saving excellence of every pure tone melt downed or sung, as well as beats and bars precision. Also the musical arrangements offer broader opportunities that fanny be acquired much easier than by traditional way of life, for example with digital synthesiser imitating the fundamental of violin or brass (Wiseman-Trowse, 2008). much(prenominal) an attitude stands in opposition to the traditional intend of craft as a barter base on special set of skills. Thus, by denying the conventions of honesty, truth and genuineness, existence reliable as an artist base be rejected by some of the fans.By identifyin g the coefficient of correlation between such operations and perception on the artists craft in damage of its genuineness, separate(a) field in the music culture theory shall be acknowledged. In other words, fellow feeling how the knowledgeability of recordings influence true(p)ity leave alone update the face selective information by one of the well-nigh recent issues.Statement of the problemBy increasing ease of access to digital impenetrable recording and editing incisions, a number of music fans become more aw atomic number 18 of how music is being make. This has influence on perceiving artists authenticity, especially referring to their craft, which can lead to interpreting them as well as turnrs as inauthentic manufacturers of music, whose main cistron is no longer self-expression, only if mercenary success lone(prenominal).Statement of answerThe value terms of authenticity, honesty, integrity and sincereness argon probably the most loaded (Moore, 2002). I n an effort to identify mathematical correlations between those related to an artists craft and digital studio production techniques, the study pull up stakes examine the perception on recorded music and how contemporary technologies can change it. In doing so, the study will uncover the key determinants of such changes. principleDigital recording and editing of music is relatively new subject. Therefore, the approachability of academic articles on its involve on authenticity of an artists skills is very limited. almost of the bibliographic sources pertinent to the fantasy of authenticity, dating back to the late 1960s, study the subject bea from disparate angles (Wiseman-Trowse, 2008). Although the majority of query has been conducted since the early 1990s, which is the term when Digital Audio Workstations were gaining popularity, very little of the studies foc utilise on the relationship between authenticity and digital studio production techniques.A number of studies investigated authenticity as an ideological nonion motivated culturally and industrially, include mostly in lyrics, interviews and artists image itself (Wiseman-Trowse, 2008). Drawing from the fields of recital and music cultures evolvement, some(prenominal) studies looked at aras such as development of folk music, which principally celebrated provincial culture, as well as rock genre, before belonging to the entertainment music domain (Moore, 2002). Even more recent research does not cover the music production angle of the problem, that mentioning it occasionally in different sources.This study is guided by the principle of exploring these determinants.Aims and intentionives of the studyThe aim of the study is to identify the relationship between groundbreaking music production techniques and the craft of an artist.As influenced by the aim of the study, the autochthonic objective of this dissertation is to examine and analyse the impact that digital retuning, malleable audio and general fixing of recorded audio recording and the impact of these changes on authenticity of an artists profession. In this context the main objectives of the research study could be republicd asTo identify the correlation between contemporary music production techniques and the craft of an artistTo evaluate the influence that digital changes, make to the recorded sound, relieve oneself on authenticity of the artists professionResearch headIs applying any digital changes or fixes to recorded sound influence authenticity of an artists craft?Definitions of termsThe following definitions are supplied to guarantee a parkland understanding of the primary terms routined in this study.Mass culture is the whole of the culture shared by all, except for infrequent individuals who understood appreciate the traditional high culture, which stands to the opposite to the term. It is argued that the mass, kernel the people, enthusiastically accepts some(prenominal) manipulative elites provide it with (DiMaggio, 2004).Craft is any object or create that is the development of practical and aesthetic skills and of the vision through the formation and creation of soulal work, sold for profit (Houghton, 2005). Although it must have high course of hand-make input, it does not have to consist of traditional materials or ways of production. The devise of craft may be culturally set in the geographic place of creation (McAuley and Fillis, 2005).Digital Audio Workstation (DAW) is a digitally based platform that is designed mainly for recording and editing sound. It replaces the traditional tape-based recording techniques, which were complex and time consuming, with fast, precise and convenient digital ones, providing wider plectron of tools to movement recorded sound (Dye, 2008).Research methodThe study was both desk-based and ethnographic. Books and articles on authenticity and different angles of defining the image, as well as on innovational audio product ion techniques were reviewed. In addition, primary information on perceiving authenticity by artists, manufacturers and fans of music was conducted exploitation both quantitative and qualitative research methods. The study also examined transformations in interpreting authenticity of an artists skill in relation to changes applied to the sound.Assumptions and limit pointsThis study was affected by several assumptions and limitations. First, it apply a multiple choice survey, which means that the respondents were not totally free to specify their views on the questions. This could imply some of the answers not to be accurately representative in terms of the respondents point of view, but only closely related to it.The second limitation of this study is the sample size, which was low-spirited and limited to the High Wycombe based population and online respondents only. In fact, thither is no indication that the sample in this study is representative of the broader population.Th e third limitation of this research is the fact that the appealingness of selective information took place at ingredienticular period of time. Thus, there is no guarantee that the received responses would be significative of responses requested and given at other time. There is also a possibility that other issues, remaining outside of the researchers control (time of day, recent conflicts, setting, or tiredness of the respondents) might influence the answers (Laurel, 2003).Description of thesis organisationThe research consists of five chapters. The root one shapes the area of interest and delineates the examined problem. The research questions are introduced, the studys limitations are reference pointised and the selected methodology is generally and briefly discussed.The second chapter reviews literature on authenticity and neo music production techniques, peculiarly relating to those basing on digital sound changing.The third chapter discusses the studys methodology, the strategies used for collection of primary and secondary data, as well as concludes with a rationalization of the defined selections, recognising some indispensable boundaries.The fourth chapter presents the studys discoveries as updated by the primary and secondary data collection and answers the research questions described in the first chapter. Responses to the research questions evaluated in the first chapter and an investigation on the accuracy of the research assumptions are presented in the findings.The fifth occasion chapter concluded the research and defines the studys recommendations.ConclusionAs described in this chapter, the studys subject shall be the relationship between digitally based music production techniques and authenticity of an artists craft. The next chapter presents the literature reviewed for this study.CHAPTER II REVIEW OF THE LITERATURE2.1 first appearanceThis chapter reviews the literature on authenticity and contemporary music production techniques. A lthough there is a wealth of literature on the subject of authenticity, very some focus ones on the process of the formation of recorded music, while none exploits the correlation between an artists craft authenticity and modern audio production. Instead, and as will be seen throughout this review, the majority of studies consider the socio-cultural aspect of perceiving artists authenticity by fans and theorists of music, as well as the historical one.2.2 Authenticity in the history of popular musicThe early theorists of popular music warned against the expanding mass consuming culture that offered artificial art, considered to be inauthentic. For example, Walter Benjamin stated his predictions concerning the world of art and music as uniformed by mass production and with no perspectives for any heterogeneity (1935). Before the growth of the culture oriented industry, musical styles and practices were less influenced by what is considered entertaining and instead they were develop ing independently, aiming for pure expression of the art. Then, the rise of the business, led to the standardisation of popular culture, which was influenced by its modernisation and industrialization (Adorno, 1991). In other words, the industry started to apply fixed formulas to the music, considering them to make it more entertaining and and then more give carely to be consumed by more people.Such an approach from the industrys side, led the fans to start missing more honest and integral cultural expressions, and thus, to seek for more genuine, traditional alternative. This was often build in folk music, as by the specifications of it, folk has been developed traditionally as an expression of peoples lives and experiences in different manner than popular culture (Gardner, 2005). Because people were searching for identity and integrity, that would distinguish themselves from the masses, the industry started to adopt different genres, marketing them as more soulful and real opti ons (Sloop and Herman, 1998).It was not only the industry standards that influenced perceiving music as inauthentic. Together with the technological development, people started using amplified electric guitars or electronic instruments, such as synthesisers, which led to a division of music listeners (Moore, 2002). This was quickly adopted by the industry, which appeared to separate music clubs between traditional and contemporary ones. The situation was as serious as the traditionally oriented venues tended to refuse to accept a performer who used modern technology as part of the performance (Boyes, 1993).2.3 What is authenticityAlthough the idea of authenticity is explained differently in variety of sources, most of them present equal view that the definition if very subjective. Allan Moore for example, presents a set of value terms that are identified with authenticity real, honest, truthful, with integrity, actual, genuine, essential and sincere (2002). Also gigabit and Pearso n specify the requirements of authentic rock of the 1980s, wherein the fundamental role of artists was to represent the culture from which they come, speaking the truth of their situations and using particular type of instrumentation (1999). In other words, these theorists claim that authenticity is not any fixed confederacy of musical sounds or set of lyrical content, but it refers to the artist or the whole of their performance as a matter of interpretation, which should be made from cultural and therefore historical position (Rubidge, 1996). Thus, it is not the integral part of a performance, but some issue that can be assigned to one, meaning that the choice whether it is authentic or not, depends on who the one is.Moore considers the rock discourse to be the one frequently referring to authenticity in the textual and musical spheres. He argued that it is the style of writing and performing that made the audience decide of its authenticity, and that it particularly referred to the vocalist (2002). What also should be noted is the attributes of an artists intimacy and immediacy, that indicate authenticity, meaning that one should uncover their feelings and experiences in unmediated shape and with the purity of sound production (Moore, 2002). Grossberg goes further by stating that the difference between the authentic and the inauthentic lies at bottom the conception that an artist has in the musical expression. Whether it is the art itself, the universe or the income driven by this, defines the authentic as the opposite of commercial (1992). Thus, in order to classify the integrate, the performers realism and lack of pretence have to be examined (Moore, 2002).2.3.1 First soulfulness authenticityThe fundamental form of authenticity that was introduced by Charles Taylor (1997) as an expression that can be delimitated in an initiatory instance, which Moore later describes as immediacy of expression (2002). This concept has also been reviewed by Bohlman, who identifies the authentic as the constant demonstration of the stylistic genesis, which means the purity of practice (1988). In other words, he presents his idea of an authentic artist as the one whose musical style remains truehearted to the origins of the genre.On the other hand, Grossberg (1992) indicates the honesty of experience as the main determinant of authenticity, meaning the lyrical content of the song expressing real experiences of an artist. Both Bohlmans and Grossbergs views are back up by Redhead, who claims that real instruments (referring to the purity of practice) should go along real feelings the artistic transparency and loyalty to the roots of music in sexual union with a genuine message (1990).Walser argues that even technological mediation, for example use of signal modifiers or amplification, is synonymous to pretence, pointing at artificiality and thus inauthenticity of an act (1993). Such an approach is related to Taylors authenticity of positionalit y, which describes the authenticity of musicians who reject to get influenced by the commercial music, for example by implementing the style of Western musicians by non-Western ones (1997).Wiseman-Trowse underlines another aspect of the immediate performance, which is the stage one, where an artist has actual opportunity to shoot the audience, as opposed to the recorded performance (2008). On stage it is possible for a listener to compare both recorded and live ones, as well as for an artist to convert the listeners perception on authenticity of the performance. On this basis one can decide whether it is the genuine artistic skill that is present on a recording, or rather a result of the work of a skilful producer (Auslander, 1999).As Moore underlines the concept of the first person authenticity, all of the above understandings of the term are connected by the direction towards they lead. This entails the perception on authenticity that is implemented by the personal interpretatio n made by an entity being a part of the audience (2002). In other words, the first person authenticity occurs when a performer is received by an individual as an integral one who expresses their art in an unmediated way.2.3.2 Third person authenticityForns distinguishes three types of authenticity social, subjective and meta ones. They differ with regard to the act of brain first is made by a particular community, second depends on the individual, while the last one is evidenced by the consideration of the performer or the author of lyrics (1995). Although meta-authenticity is described as an act of validation made by the author, this side of the subject is also present in the other two types. According to Grossberg, the authentic performer ask to express their let feelings, which are simultaneously shared with the public (1992).This type of authenticity is ideate by adopting the original blues music style, deriving from the economically unretentive Mississippi delta, to the 19 60s movement represented by artists like Cream. The skirt used to play a cover song of Robert Johnson, Crossroads. Even though Cream did not grow neither over the Mississippi area, nor in the 1930s, they found themselves identifying with the song (Coleman, 1994). This allowed them to express themselves through reproducing Johnsons art and remaining authentic (at least in their own opinion).The third person authenticity is supported by Vaughan Williams, who claims that the artist can never create from the state of faultless independence, without any influence of earlier musical acts. Thus, the musician needs predecessors in order to base the artistic experience on them (1987).Thus, the third person authenticity occurs if a performing artist successfully represents the ideas, experiences and feelings of another.2.3.3 Second person authenticityGrossberg specifies another type of authenticity that, as opposed to the first and third person ones, is being justified by the artists capabi lity to successfully express the experiences of the listeners (1992). Thus, it is the audience that recognises the authentic by basing on their own feelings and thoughts that are presented by an artist. Moore exemplifies this approach by mentioning the 1980s rock scene, which was dominated by synthesisers. The dedication to traditional rock was therefore exposed by the focus on the guitar based instrumentation used by the bands like U2, striking Country, Simple Minds, The Alarm or Bruce Springsteen, who derive from socially disadvantaged areas. By using the guitar, that was easily reachable, they tried to metaphorically escape from their reality (2002). This means, that it is culturally constructed process of artists authentication made by the audience that seeks for the validation of their own experiences in art.2.3.4 Authenticity as a renewable resourceRichard Peterson (1997) introduced the concept of authenticity as a renewable resource, claiming that it is renovated with every era and amplification of popular music with its production. He states that the shifting conditions are reflected by the meaning of authenticity, which is defined by a collective argumentation of fans, performers and producers. It is argued that authenticity is not inseparable in the recording, or a performance, which intend to be authentic by design. In popular culture, the particulars of the words meaning are not controlled by specialists and authorities it aims to be credible qualified to a straightforward model and simultaneously remain original. In other words, it has to fit within fixed framework, not being an imitation of it at the same time. Thus, what is authentic, varies unendingly renewing all the time and never remaining static.However, Robert Gardner (2005) disagrees with the generalisation of authenticity as renewable resource. He points out that even the genre on which Peterson has based his research, should not be considered authentic in the contemporary state of i t, having been deprived of its integral roots, which displays for example on ABCs Monday Night Football, which uses Hank Williams Jrs prow song.2.4 Digital audioTodays recording systems, like Pro Tools, Cuebase or Logic, are using the digital way of sound capturing. It is then saved as samples, which are small bits that recorded sound consists of. Frank D. Cook describes sound samples as analogical to pixels in digitally saved images (2009). In order to understand digital audio, it is grievous to present what sound essentially is. When a gracious ear hears a sound, it in fact experiences variations of the air force per unit area around it. These are result of vibrations of objects, that are moving in cycles. If the object is vibrating at a frequency that falls within the range of human earshot, we perceive it as a sound (Cook, 2009, p 21). The actual character of the sound depends on the waveform, frequency and the vibrations amplitude.2.4.1 WaveformThe waveform is the very thin g that creates the humans perception on the shape of the sound. This means that one can find out what is the source of the sound, as every object vibrates differently, handsome the waveform the distinctive nature and tone (Cook, 2009).2.4.2 FrequencyHuman hearing has the range of approximately 20 and 20000 cycles (the whole back-and-forth vibrations) per second, measured in cps (Hz). This determines the deport of the sound, where lower frequencies generate lower sounds while higher frequencies produce higher tack togetheres (Cook, 2009). For example, the frequency of 130 Hz is assigned to the musical note C3, whereas the semitone lower B2 names the frequency of 123 Hz.2.4.3 AmplitudeThe book sensed by the human ear depends on the pressure or strong suit of the sound variations and is measured in decibels (dB). Thus, the sound becomes louder as the amplitude of vibrations increases. For example, the loudness of a regular conversation is 60 dB. In order to twin the loudness, t he amplitude would have to be increased to 70 dB (Cook, 2009).2.5 groundbreaking studio production techniquesDan Daley suggests that listening to the recorded vocals on the radio nowadays brings to mind the increasing popularity of guitar effects in the 1970s, when fuzz, distortion, flanging and wah-wah processors overwhelmed traditional sounding guitars (2003). As it was argued then, whether the non-purist approach is inauthentic or rather an artistic expression of modernity, it is problematic if changing recorded vocals or instruments digitally can be perceived as genuine representation of art (Daley, 2003).The turning point of manner of speaking chastening technique came along Chers single Believe in 1998, on which digital vocal processing has been not only used, but made very noticeable. Since then, the number of artists using these features is continuously increasing, as well as there are more and more ways of using them, even to the point of intentional distortion of reco rded sound (Daley, 2003).2.5.1 Pitch correctionThe pitch correction feature, easy by both DAW plug-ins as well as standalone programs allows automatic or manual change of recorded sounds pitch. The most common use of pitch correction is fixing a vocal performance if a singer sings a false note, the digital technology allows the producer to fix it quickly, without another take. There are two ways of correcting pitch. Automatic mode usually lets the user to choose a musical scale according to which both flat and sharp notes should be corrected. Manual mode provides a graph of the notes that allows the producer to change the pitch of separate sounds manually, by moving the graphical representation of them up and cut out (Bartlett and Bartlett, 2009).2.5.2 Elastic audioHuber and Runstein point out another feature that provided by digital technology. Elastic audio allows the change of the timing of recorded sound (2009), for example fixing a guitarists performance, who might have recor ded a solo slower than the actual song and then speed it up. This tool does not only generate a change of a tracks speed, but also each sound can be stretched or shrunk independently and manually by the producer (Huber and Runstein, 2009). Such a tool can repair a poor performance that is out of time and make it sound technically perfect.2.6 Contemporary production techniques and authenticityAn American singer and songwriter, Neko Case, expressed her views on auto-tune in the interview for Pitchfork. She claims that singing is not important anymore, as instead bad singing is fixed by the producer (2006). Case also argues that an artist who uses shift correction on vocals cannot be taken seriously, losing all the integrity. Moreover, the singer clearly points out that an artists craft needs more work and thus, those who do not spend this extra moment in the studio trying to hit the note are not valid (Case, 2006).Allison Moore, a singer from Nashville, goes one step further in her p roclaiming approximately using modern production tools on records. She put a sticker on the front cover of her LP release, Miss Fortune, which states Absolutely no vocal tuning or pitch-correction was used in the making of this record (2002). She is a keen supporter of the view that albums should be recorded and entangled in the old way, that is becoming progressively rare (Daley, 2003).On the other hand, the guitarist of The White Stripes, The Raconteurs and The Dead Weather, Jack White argues that pop artists, like Britney Spears can be more authentic than Tom Waits or tail Dylan (2009). His rationale for such a controversial opinion was that he finds more authentic an artist whose musical expression is made the way they shell know and feel. In other words, White points out that in the modern music world somebody who has grown listening mainly to pop (thus commercial, manufactured and by definition inauthentic) music, knows it as their primary way of articulating feelings and experiences and therefore is not pretentious, which leads to perceiving them as authentic (2009).Some genres can be more focused on the authentic side of studio recording. An example of such an approach is Pearl Jam, representing grunge music. The bands drummer, Matt Cameron called their album Riot toy is an anti-Pro Tools record Its more interesting hearing musicians in a board playing hard, with the tempo fluctuating slightly as the band heats up. ne plus ultra is boring (2009). He pointed out a epochal thing about the modern technology by recalling one of the most popular DAWs as a synonym of commercial and unreal music.Josh Binder argues that the features of pitch/timing of a recorded track does not have to be used only as a tool for fixing a bad performance. This young producer, who has been learning his profession in the world that has already accepted the existence of digital retuning, claims that he uses Auto-Tune (one of the leading digital tools used for pitch correcti on) to enrich the vocal sound of even a absolutely sung track (2009).An engineer, Michael Brauer, applies no limitations in terms of using available technologies to make a good-sounding record. He states that he is employed for the purpose of component to make songs that can be sold, regardless of the artists abilities (2009). Nevertheless, he still believes that one needs talent to be an artist and if they cannot sing or play at all, no technology can help them (2009).2.7 ConclusionThe subject of authenticity alone has generated vast amount of theoretical angles of consideration. This has been motivated by the very nature of it, assuming that perception of what is honest, genuine or integral depends on the actual perceiver. Moreover, three basic ways of interpreting the authentic have been specified, which determined further research direction.Furthermore, the digital music production techniques have been described, clarifying how recorded sound can be changed or fixed by contempo rary recording and mixing tools. The chapter also presented different perceptions on the relationship between digital production techniques and authenticity of an artists craft.Chapter terzetto describes the methodology used for this study. A review of the studys purpose and investigated questions was presented. This is followed by an outline of the research design and the survey instrument used for it, along with the procedures for data collection and analysis.CHAPTER III METHODOLOGY3.0 IntroductionThis chapter reflects the studys selected research methodology. As will be seen, the methodology is the subject of the purpose of this study and is supported by the evaluation of the most beneficial approach responding to the research questions. As such, this chapter presents the purpose of the study, the research questions and hypothesis, as well as discusses the data collection and data analysis procedures and the limitations of the research.3.1 Purpose of the studyThe purpose of this study is to examine the concept of authenticity with specific focus on its perception as influenced by applying digital studio production techniques. The reason for doing so is determining what impact changing the recorded sound has on authenticity of an artists craft. To fulfil this purpose, it was significant to review literature on authenticity, as well as on contemporary music production techniques. This necessitated an exploration of the nature of perceiving authenticity by music fans, producers (record manufacturers), as well as artists themselves. At the same time it was important to explore the ways in which recorded sound, being the performance can be edited, fixed and generally changed. All of this was done in order to fulfil the primary purpose of the study, which was the identification of the influence modern production practices can have on authenticity of an artists skill.As it can be presumed from the above, the current research has an instructive purpose. According to Silverman, the aim for explanatory research is needed to define an occurrence or make a complex subject comprehensible (2006). This can be done by clarifying the correlations between variables. The purpose of the study aims to explain th