Absolute Music, Mechanical Reproduction »

"Arved Ashby writes with a keen sense of the historical processes, ironies, and reversals that seem to characterize the ways that musicologists think about, and contemporary listeners experience, works and performance. This book is a major contribution to the burgeoning body of critical musicological literature on recordings; anybody interested in that field, or in the question of the 'artwork' in the contemporary world, needs to read this book—which fortunately, is a great pleasure to do."—Adam Krims, author of Music and Urban Geography

"The relationship between classical music and recording is strangely conflicted: on the one hand recorded music is the perfect realization of aesthetic autonomy, on the other hand it commodifies music and transforms its role within society. Ashby's book offers a penetrating analysis of these cultural conflicts, showing how technological developments from the phonogram to the mp3 have changed our basic sense of what music is as well as the ways in which we consume it. What emerges from this sustained study of the relationship between technology and values is a view of classical musical culture that is both richer and truer to life."—Nicholas Cook, author of A Guide to Musical Analysis

"Lively and persuasive. Ashby has the enviable, rare ability to lead the reader comfortably through highly complex material without oversimplifying. This is a must-read for composers, music theorists, performers, musicologists, critics, and anyone with an interest in classical music beyond the elementary level."—Jonathan Dunsby, author of Performing Music

List of Illustrations ix

Acknowledgments xi

Introduction 1

1 The recorded musical text 27

2 Recording, Repetition, And Memory in Absolute Music 60

3 Schnabel's Rationalism, Gould's pragmatism 91

4 Digital Mythologies 123

5 Beethoven and the Ipod Nation 162

6 Photo/Phono/Porno 194

7 Mahler As Imagist 221

Notes 253

Selected Bibliography 299

Index 309