- Paperback: 276 pages
- Publisher: University of California Press; 1 edition (Nov 1 2004)
- Language: English
- ISBN-10: 0520243803
- ISBN-13: 978-0520243804
- Product Dimensions: 23 x 15.5 x 2 cm
- Shipping Weight: 399 g
- Amazon Bestsellers Rank: #430,003 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Details |
Product Description
Review
"I only wish I had put as much thought into making records as Mark Katz does in appreciating and analyzing them. I've always said that what I do is not rocket science but critiques like this make it sound like it has a place in modern culture." - Norman Cook, aka Fatboy Slim, composer, producer, DJ; "Katz provides a model of how studies of music and technology should be done." - Tim Taylor, author of Global Pop"
Product Description
There is more to sound recording than just recording sound. Far from being simply a tool for the preservation of music, the technology is a catalyst. This is the clear message of Capturing Sound, a wide-ranging, deeply informative, consistently entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet.
In a series of case studies, Mark Katz explores how recording technology has encouraged new ways of listening to music, led performers to change their practices, and allowed entirely new musical genres to come into existence. An accompanying CD, featuring thirteen tracks from Chopin to Public Enemy, allows readers to hear what Katz means when he discusses music as varied as King Oliver's "Dippermouth Blues," a Jascha Heifetz recording of a Brahms Hungarian Dance, and Fatboy Slim's "Praise You."
In a series of case studies, Mark Katz explores how recording technology has encouraged new ways of listening to music, led performers to change their practices, and allowed entirely new musical genres to come into existence. An accompanying CD, featuring thirteen tracks from Chopin to Public Enemy, allows readers to hear what Katz means when he discusses music as varied as King Oliver's "Dippermouth Blues," a Jascha Heifetz recording of a Brahms Hungarian Dance, and Fatboy Slim's "Praise You."
Inside This Book
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First Sentence
Anytown, U.S.A., 1905: a family and several neighbors stand in the parlor of a modest home, staring with equal parts curiosity and skepticism at one of the technological marvels of the day. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Anytown, U.S.A., 1905: a family and several neighbors stand in the parlor of a modest home, staring with equal parts curiosity and skepticism at one of the technological marvels of the day. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3.8 out of 5 stars (6 customer reviews)
16 of 18 people found the following review helpful
5.0 out of 5 stars
A great read., Sep 7 2005
By Hugh Mckee "Jim" - Published on Amazon.com
This review is from: Capturing Sound: How Technology Has Changed Music (Paperback)
Although being a scholarly work, fully footnoted and with a complete bibliograpy this book, unlike much of academic production, is a great read.I enjoyed it immensly.
It is a good companion to Michael Channan's book on the same topic."Repeated Takes: A Short History of Recording and Its Effects on Music".
If you are interested in the history of recording or just curious about how what we listen to came to be the way it is this book will delight you.
6 of 7 people found the following review helpful
5.0 out of 5 stars
Profound insights for record-lovers and music-lovers, Jun 2 2010
By Michael Tiemann - Published on Amazon.com
This review is from: Capturing Sound: How Technology Has Changed Music (Paperback)
I greatly enjoy reading books that cover ground that I think I know well, then proceed to reveal insights far deeper than any I'd yet contemplated. Mark Katz has done this with some of my favorite subjects, music, records and recording technology, and then proceeds to add an entirely new dimension to my understanding of how these all relate (and continue to evolve together). To do this, he remixes a great number of insights coming from previous works I have come to know and love, including Remix: Making Art and Commerce Thrive in the Hybrid Economy, The Rest Is Noise: Listening to the Twentieth Century, and a widely eclectic appreciation of recorded music that I also share.And I am not alone in my appreciation for this book. In 2007 it won the Hacker Prize, which provided the following citation:
The Hacker Prize rewards exceptional scholarship that reaches a broad audience. The audience so captured by Capturing Sound is primarily an undergraduate one, thus Katz has presented the Committee with a welcome opportunity to reward pedagogical writing. Textbooks are a genre that always challenge, and usually defeat, even the best of writers. Breaking the mold of the seemingly objective, chronologically-impelled narrative, Katz has produced a very different kind of work that succeeds on three different levels, all of which are important to historians of technology.
I agree, and I think it will give other readers a new-found appreciation and understanding of their musical tastes and collections. And with the knowledge it imparts, you may find yourself discovering new evidence of the book's primary thesis: the phonograph effect. Even in today's world of CDs and MP3s (which, do not fear, Katz treats thoroughly).
1 of 1 people found the following review helpful
5.0 out of 5 stars
Wonderful exploration of the topic, very readable!, April 14 2012
By MatthewT - Published on Amazon.com
Amazon Verified Purchase(What's this?)
This review is from: Capturing Sound: How Technology Has Changed Music, Revised Edition (Paperback)
I use this book as a central text in music education courses I teach at the University of Illinois (undergraduate through doctoral), and my students overwhelmingly find it fascinating and readable. The author brings a wealth of primary sources that really convey how sound recording and music making co-evolved over the twentieth century.This spring (2012) I had a chance to read the revised edition with a doctoral seminar, and I was very impressed with the number of refinements, extensions, and additional references. The revised edition reads as though Katz extensively spoke with admirers and critics--some sections students found less convincing than the first edition have been greatly improved, and the best parts are untouched or improved. Given that many second editions today are cranked out simply to allow the publisher an opportunity to cut down on book reselling, a revision this extensive is uncommon and very welcome.
There are many wonderful books that deal with sound recording today, and having read many this remains the book I recommend most frequently.
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