AHRC Online Conference

Classical Music Hyper Production and Practice As Research

More about 'CMHP'

Very interesting Andrew. I think the point that we were trying to make - and in some ways trying to move away from - was the idea that recorded classical music still hasn't moved very far from the aesthetic of the 'best seat in the house'. That said, I found your paper very interesting in that regard because it makes a point very strongly that I've been writing about recently: that high fidelity is a relatively meaningless term and that recordings never actually sound 'like' the experience of being in the concert hall. It is a culturally constructed notion that draws on some aspects of 'realism' and often, with exaggerated extremes of high and low frequency, is a distortion of 'reality' that combines some aspect of being close to something with other aspects of being away from it in a large space - a sonic cartoon that exaggerates certain features to create a sense of clarity. Despite that, just as in the visual world we can create and perceive paintings that are 'hyper-real' but still obviously paintings or impressionistic but still obviously an image 'of' something - we can do the same in the sound world. Many rock recordings are almost abstract representations of acoustic instrumental performances (and the performances themselves are edited constructions) and they serve to present the musical material in a light that adds meaning - like, perhaps, the scenery, lighting and costumes in a play. That's what we've been trying to explore with the Hyper-Production project. Not to make classical recordings more populist by making them sound more like popular music but to dare to re-contextualise these familiar texts to cast them in a different light. 

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