A Memory of Almost Nothing: Luc Ferrari's Listening During Presque Rien No.1.
Luc Ferrari's Presque rien, ou le lever du jour au bord de la mer (Almost nothing, or daybreak at the seashore) represents one of the most significant milestones in the development of field recording as it is understood today. His piece, recorded in 1968 in Vela Luka, is both a composition and an ex...
| Publicado en: | Leonardo Music Journal Vol. 27; no. 1; pp. 17 - 21 |
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| Autor principal: | |
| Formato: | Artículo |
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MIT Press
Dec2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=126520858&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 126520858 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09611215 1F1 jtl: Leonardo Music Journal issn: 09611215 maglogo: N pubinfo: dt: Dec2017 vid: 27 iid: 1 pid: 776 pub: MIT Press artinfo: ui: 126520858 10.1162/LMJ_a_01002 ppf: 17 ppct: 4 formats: fmt: @attributes: type: P size: 2.2MB tig: atl: A Memory of Almost Nothing: Luc Ferrari's Listening During Presque Rien No.1. aug: au: ENGLISH, LAWRENCE affil: Queensland University of Technology, P.O. Box 191, Red Hill, Queensland, Australia 4059 su: Ferrari, Luc Composers Auditory perception Memory Listening Musical composition sug: subj: Ferrari, Luc Composers Auditory perception Memory Listening Musical composition ab: Luc Ferrari's Presque rien, ou le lever du jour au bord de la mer (Almost nothing, or daybreak at the seashore) represents one of the most significant milestones in the development of field recording as it is understood today. His piece, recorded in 1968 in Vela Luka, is both a composition and an execution of auditory memory making. The work demonstrates the agentive capacity of Ferrari's listening and sets a framework for future executions of the relational condition between human listening and the audition of the prosthetic ear: the microphone. In 2013, the author visited the same location to reconsider Ferrari's sonic subjects and to update Ferrari's exploration by expanding on the French composer's listening methodologies. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Leonardo Music Journal is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Leonardo Music Journal holder: MIT Press dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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