The aim of this article is to discuss how, even within the domain of traditional music, the processes involved in the mediatization of a musical performance inevitably bring a certain degree of ‘opacity’ that depends both on the constraints of recording technologies and on the ‘performative project’ that shapes every recorded artifact. Fundamental for the analysis of the four case studies presented here were my eight years working as manager and sound engineer assistant in a Sardinian recording studio, together with my archival research on historical recordings. Drawing on my training as an ethnographer, I argue that an ethnographic approach to the recording studio can make these processes of mediatization more transparent, offering new methodological and theoretical perspectives to address the study of the technological mediatization of musical performance.
L'obiettivo di questo articolo è discutere come, anche nell'ambito della musica tradizionale, i processi coinvolti nella mediatizzazione di una performance musicale comportino inevitabilmente un certo grado di “opacità” che dipende sia dai vincoli delle tecnologie di registrazione sia dal “progetto performativo” che dà forma a ogni artefatto registrato. Fondamentali per l'analisi dei quattro casi di studio qui presentati sono stati i miei otto anni di lavoro come manager e assistente tecnico del suono in uno studio di registrazione sardo, insieme alla mia ricerca d'archivio sulle registrazioni storiche. Basandomi sulla mia formazione di etnografo, sostengo che un approccio etnografico allo studio di registrazione può rendere più trasparenti questi processi di mediatizzazione, offrendo nuove prospettive metodologiche e teoriche per affrontare lo studio della mediatizzazione tecnologica della performance musicale.
Ethnographic Approaches to Discographic Production in Sardinia, Italy
Marco Lutzu
2024-01-01
Abstract
The aim of this article is to discuss how, even within the domain of traditional music, the processes involved in the mediatization of a musical performance inevitably bring a certain degree of ‘opacity’ that depends both on the constraints of recording technologies and on the ‘performative project’ that shapes every recorded artifact. Fundamental for the analysis of the four case studies presented here were my eight years working as manager and sound engineer assistant in a Sardinian recording studio, together with my archival research on historical recordings. Drawing on my training as an ethnographer, I argue that an ethnographic approach to the recording studio can make these processes of mediatization more transparent, offering new methodological and theoretical perspectives to address the study of the technological mediatization of musical performance.File | Dimensione | Formato | |
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