MARC Record from harvard_bibliographic_metadata

LEADER: 02909cam a22003254a 4500
001 012028612-2
005 20090823102200.0
008 081223s2009 nyua b 001 0 eng
010 $a 2008055444
020 $a9780571211654 (hardcover : alk. paper)
020 $a0571211658 (hardcover : alk. paper)
035 0 $aocn243544892
040 $aDLC$cDLC$dBTCTA$dBAKER$dYDXCP$dC#P$dBWX$dVP@$dHMU
050 00 $aML3838$b.M645 2009
082 00 $a781.4909$222
082 4 $a780.1
100 1 $aMilner, Greg.
245 10 $aPerfecting sound forever :$ban aural history of recorded music /$cGreg Milner.
246 30 $aAural history of recorded music
250 $a1st ed.
260 $aNew York :$bFaber and Faber,$c2009.
300 $ax, 416 p. :$bill. ;$c24 cm.
504 $aIncludes bibliographical references (p. [373]-391) and index.
505 0 $aThe point of commencement -- From the new world -- Aluminum cowboys : a pretape parable -- Pink pseudo-realism -- Presence -- Perfect sound? Whatever -- The story of the band that clipped itself to death (and other dispatches from the loudness war) -- Tubby's ghost.
520 $aIn 1915, Thomas Edison proclaimed that he could record a live performance and reproduce it perfectly, shocking audiences who found themselves unable to tell whether what they were hearing was an Edison Diamond Disc or a flesh-and-blood musician. Today, the equation is reversed. Whereas Edison proposed that a real performance could be rebuilt with absolute perfection, Pro Tools and digital samplers now allow musicians and engineers to create the illusion of performances that never were. In between lies a century of sonic exploration into the balance between the real and the represented. Tracing the contours of this history, Greg Milner takes us through the major breakthroughs and glorious failures in the art and science of recording. An American soldier monitoring Nazi radio transmissions stumbles onto the open yet revolutionary secret of magnetic tape. Japanese and Dutch researchers build a first-generation digital audio format and watch as their "compact disc" is marketed by the music industry as the second coming of Edison yet derided as heretical by analog loyalists. The music world becomes addicted to volume in the nineties and fights a self-defeating "loudness war" to get its fix. From Les Paul to Phil Spector to King Tubby, from vinyl to pirated CDs to iPods, Milner pulls apart musical history to answer a crucial question: Should a recording document reality as faithfully as possible, or should it improve upon or somehow transcend the music it records? The answers he uncovers will change the very way we think about music [Publisher description]
650 0 $aMusical perception.
650 0 $aSound$xRecording and reproducing$xHistory.
650 0 $aSound$xRecording and reproducing$xPsychological aspects.
988 $a20090702
906 $0DLC