Pianistic Translations
In doing research on the player piano, a certain temptation has come up many times. Given the popularity of the phonograph as an object of academic inquiry (and the persistence of its basic working principles), it is basically mandatory that I compare the pianistic reproduction I’m looking at to phonographic reproduction.
So first, there is a question: What kinds of things am I comparing? I just called my topic “pianistic” reproduction, which is basically a working term meaning “with discrete notes and attacks, like a piano.” “Phonographic” reproduction, on the other hand, would mean “like a phonograph.” Basing my terms specifically on the technologies is not ideal: like a piano in what way? like a phonograph in what way? Jonathan Sterne did the hard work for the phonograph and ended up with “tympanic reproduction”—sound reproduction that is modeled on the eardrum (like all microphones and speakers). That seems to collect together iPods, phonographs, 8-track tapes, etc. in a meaningful way—based on a foundational shared principle. At the moment, my only parallel move would be to alter “pianistic” so that instead of referring to “piano” the technology, it refers to “pianism” the mode of engagement with keyboard instruments. This is a little obtuse, still working out terms, but I hope you get the idea.
Click through for a bunch of examples, after the jump.
![In an article for New York Magazine, Justin Davidson manages to tie together the majority of my musical/academic interests in a single argument about mechanical music and performance.
No really, he talks about Zenph Studios’ “re-performed” Rachmaninoff Plays Rachmaninoff, Ulrich Krieger’s arrangement of Metal Machine Music (the focus of my undergrad thesis), Conlon Nancarrow’s player piano studies, and Antheil’s Ballet Mécanique.
Needless to say, this is all right up my alley. Davidson’s point, generally, is that the relationship between humans and machines in music-making is complicated:
Zenph and Krieger may be heading in opposite directions—one automates performances, while the other puts mechanical art into human hands—but they are converging on the same goal: transforming a recording into a performance. Imagination rolls into technology and then back into live experience. Instrumentalists have always treated their specialized contraptions as expressive extensions of themselves, and technological improvements like valved horns, steel strings, and GarageBand all aim to enhance creativity. But Zenph’s musician-free live performance and Krieger’s warm-blooded robotic clangor aspire to a fresh and perfect synthesis of spirit and machine.
These attitudes towards instruments and music-making machines are exactly the focus of my research, and it is tremendously exciting to see the topic pop up in the public discourse like this.
[I apologize for the lightness of posts recently—apparently this is what thesis term is like. I promise I have some longer things coming down the pipe, when I get a moment between research trips and grad school interviews.]
(via New York Magazine, mailbackwards)](http://30.media.tumblr.com/tumblr_kxfbx6kUOT1qzf8epo1_250.jpg)
In an article for New York Magazine, Justin Davidson manages to tie together the majority of my musical/academic interests in a single argument about mechanical music and performance.
No really, he talks about Zenph Studios’ “re-performed” Rachmaninoff Plays Rachmaninoff, Ulrich Krieger’s arrangement of Metal Machine Music (the focus of my undergrad thesis), Conlon Nancarrow’s player piano studies, and Antheil’s Ballet Mécanique.
Needless to say, this is all right up my alley. Davidson’s point, generally, is that the relationship between humans and machines in music-making is complicated:
Zenph and Krieger may be heading in opposite directions—one automates performances, while the other puts mechanical art into human hands—but they are converging on the same goal: transforming a recording into a performance. Imagination rolls into technology and then back into live experience. Instrumentalists have always treated their specialized contraptions as expressive extensions of themselves, and technological improvements like valved horns, steel strings, and GarageBand all aim to enhance creativity. But Zenph’s musician-free live performance and Krieger’s warm-blooded robotic clangor aspire to a fresh and perfect synthesis of spirit and machine.
These attitudes towards instruments and music-making machines are exactly the focus of my research, and it is tremendously exciting to see the topic pop up in the public discourse like this.
[I apologize for the lightness of posts recently—apparently this is what thesis term is like. I promise I have some longer things coming down the pipe, when I get a moment between research trips and grad school interviews.]
(via New York Magazine, mailbackwards)
Mechanical Fidelity
This post is the first of many to come that will be little snippets of thesis-related thought. I’m focusing on a series of objects, people, and practices from the long and weird history of player pianos, and these blurbs are what come out. They’re in no particular order, and they might not make sense individually (although I hope they do). Comments on any aspect are welcomed!
Mechanical Fidelity
[photo ©Mark Manring]
Zenph Studios has a peculiar business model. From their website:
Zenph® Studios takes audio recordings and turns them back into live performances, precisely replicating what was originally recorded. Our software-based process extracts every musical nuance of a recorded performance, and stores the data in a high-resolution digital file. These re-performance files contain the details of how every note in the composition was played, including pedal actions, volume, and articulations – all with millisecond timings.
These digital files are played back on modern player pianos and recorded for sale. Zenph focuses on recreating the original operation of the piano—improvements to recording technology ensure that the new recording will be an improvement over the old. However, the idea of “re-performance” and the relationship between player pianos and acoustic recording have a long history.
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