By Michael Denning
A notably new studying of the origins of recorded music
Noise Uprising brings to lifestyles the instant and sounds of a cultural revolution. among the improvement of electric recording in 1925 and the outset of the good melancholy within the early Nineteen Thirties, the soundscape of recent occasions spread out in a sequence of imprecise recording periods, as hundreds of thousands of unknown musicians entered makeshift studios to checklist the melodies and rhythms of city streets and dancehalls. The musical types and idioms etched onto shellac disks reverberated worldwide: between them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They caused the 1st nice conflict over well known track and have become the soundtrack to decolonization.
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Additional resources for Noise Uprising: The Audiopolitics of a World Musical Revolution
91) - and what happiness he felt when innate musicality expressed itself spontaneously: 'She [Wanda RadziwiH] has plenty of genuine musical feeling and you don't have to tell her crescendo here, piano there, quicker, slower and so on' (Chopin, SC, p. 37). Piano technique should be no more than a means; and so it should come directly out of an imperative need for musical self-expression. , see notes 70, 77, 82, 95, 103, I26, I28, 137 and 184 below). Seventeenth and eighteenth century treatises make constant reference to vocal models for instrumental playing.
Chopin recommended, with this object, that the fingers should fall freely and lightly, and that the hand should be held as though suspended in the air (without weight); he objected to rapid movements at too early a stage of the pupil's progress, and wished that they should learn to execute all passages fortissimo and pianissimo. From this method the various qualities of tone came of themselves, and the hand was never fatigued. This frequent employment of piano, for the purpose of avoiding heaviness and clumsiness of [the J hand, is a characteristic feature in the method of Chopin.
The secondary divisions of this phrase of eight measures, occurring after each two or each four measures, require shorter pauses - that is to say, they require commas or semi-colons. These pauses are of great importance; without them music becomes a succession of sounds without connection, an incomprehensible chaos, as spoken language would be if no regard were paid to punctuation and the inflection of the voice. A short example will make the matter clear. Let us take the well-known Waltz in A flat (op.