LEADER 00000cam a2200925Ia 4500 
001    ocn655853281 
003    OCoLC 
005    20160527041012.2 
006    m     o  d         
007    cr mnu---unuuu 
008    100813s2010    cauag   ob    001 0 eng d 
016 7  |z015494171|2Uk 
019    649319940|a657608578|a666878359 
020    9780520945692|q(electronic book) 
020    0520945697|q(electronic book) 
020    |z9780520264793|q(cloth ;|qalkaline paper) 
020    |z0520264797|q(cloth ;|qalkaline paper) 
020    |z9780520264809|q(paperback ;|qalkaline paper) 
020    |z0520264800|q(paperback ;|qalkaline paper) 
024 8  9786612697661 
035    (OCoLC)655853281|z(OCoLC)649319940|z(OCoLC)657608578
       |z(OCoLC)666878359 
037    269766|bMIL 
037    22573/cttt15ck|bJSTOR 
040    N$T|beng|epn|cN$T|dYDXCP|dOSU|dEBLCP|dOCLCQ|dCDX|dUBY|dMHW
       |dE7B|dOCLCQ|dJSTOR|dP@U|dCOO|dOCLCQ 
049    RIDW 
050  4 ML3854|b.A84 2010eb 
072  7 MUS|x032000|2bisacsh 
072  7 MUS006000|2bisacsh 
082 04 781.49|222 
090    ML3854|b.A84 2010eb 
100 1  Ashby, Arved Mark.|0https://id.loc.gov/authorities/names/
       nr95019226 
245 10 Absolute music, mechanical reproduction /|cArved Ashby. 
264  1 Berkeley :|bUniversity of California Press,|c[2010] 
264  4 |c©2010 
300    1 online resource (xii, 317 pages) :|billustrations, music
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
340    |gpolychrome|2rdacc 
347    text file|2rdaft 
504    Includes bibliographical references (pages 299-308) and 
       index. 
505 0  The recorded musical text -- Recording, repetition, and 
       memory in absolute music -- Schnabel's rationalism, 
       Gould's pragmatism -- Digital mythologies -- Beethoven and
       the iPod Nation -- Photo/phono/porno -- Mahler as imagist.
520    Recordings are now the primary way we hear classical music,
       especially the more abstract styles of "absolute" 
       instrumental music. In this original, provocative book, 
       Arved Ashby argues that recording technology has 
       transformed our understanding of art music. Contesting the
       laments of nostalgic critics, Ashby sees recordings as 
       socially progressive and instruments of a musical 
       vernacular, but also finds that recording and absolute 
       music actually involve similar notions of removing sound 
       from context. He takes stock of technology's impact on 
       classical music, addressing the questions at the heart. 
588 0  Print version record. 
590    eBooks on EBSCOhost|bEBSCO eBook Subscription Academic 
       Collection - North America 
600 10 Gould, Glenn|0https://id.loc.gov/authorities/names/
       n50035742|xCriticism and interpretation.|0https://
       id.loc.gov/authorities/subjects/sh99005576 
600 10 Schnabel, Artur,|d1882-1951|0https://id.loc.gov/
       authorities/names/n50004689|xCriticism and interpretation.
       |0https://id.loc.gov/authorities/subjects/sh99005576 
600 17 Gould, Glenn.|2fast|0https://id.worldcat.org/fast/12147 
600 17 Schnabel, Artur,|d1882-1951.|2fast|0https://
       id.worldcat.org/fast/1175 
648  7 20th century|2fast 
648  7 1900 - 1999|2fast 
650  0 Absolute music.|0https://id.loc.gov/authorities/subjects/
       sh98007199 
650  0 Sound recordings|0https://id.loc.gov/authorities/subjects/
       sh85125391|xSocial aspects.|0https://id.loc.gov/
       authorities/subjects/sh00002758 
650  0 Music|xPhilosophy and aesthetics.|0https://id.loc.gov/
       authorities/subjects/sh85088808 
650  0 Performance practice (Music)|xHistory|y20th century.
       |0https://id.loc.gov/authorities/subjects/sh89003988 
650  0 Music and technology.|0https://id.loc.gov/authorities/
       subjects/sh94007386 
650  0 Sound|xRecording and reproducing|xDigital techniques.
       |0https://id.loc.gov/authorities/subjects/sh85125369 
650  0 MP3 (Audio coding standard)|0https://id.loc.gov/
       authorities/subjects/sh00000865|xSocial aspects.|0https://
       id.loc.gov/authorities/subjects/sh00002758 
650  7 Criticism and interpretation.|2fast|0https://
       id.worldcat.org/fast/1198648 
650  7 Absolute music.|2fast|0https://id.worldcat.org/fast/794719
650  7 Sound recordings|xSocial aspects.|2fast|0https://
       id.worldcat.org/fast/1127060 
650  7 Sound recordings.|2fast|0https://id.worldcat.org/fast/
       1127034 
650  7 Music|xPhilosophy and aesthetics.|2fast|0https://
       id.worldcat.org/fast/1030408 
650  7 Performance practice (Music)|2fast|0https://
       id.worldcat.org/fast/1057874 
650  7 History.|2fast|0https://id.worldcat.org/fast/958235 
650  7 Music and technology.|2fast|0https://id.worldcat.org/fast/
       1030490 
650  7 Sound|xRecording and reproducing|xDigital techniques.
       |2fast|0https://id.worldcat.org/fast/1126959 
650  7 MP3 (Audio coding standard)|2fast|0https://id.worldcat.org
       /fast/1004572 
650  7 Social aspects.|2fast|0https://id.worldcat.org/fast/
       1354981 
655  4 Electronic books. 
655  7 Criticism, interpretation, etc.|2fast|0https://
       id.worldcat.org/fast/1411635 
655  7 History.|2fast|0https://id.worldcat.org/fast/1411628 
776 08 |iPrint version:|aAshby, Arved Mark.|tAbsolute music, 
       mechanical reproduction.|dBerkeley : University of 
       California Press, ©2010|z9780520264793|w(DLC)  2009040742
       |w(OCoLC)449860806 
856 40 |uhttps://rider.idm.oclc.org/login?url=http://
       search.ebscohost.com/login.aspx?direct=true&scope=site&
       db=nlebk&AN=330902|zOnline eBook. Access restricted to 
       current Rider University students, faculty, and staff. 
856 42 |3Instructions for reading/downloading this eBook|uhttp://
       guides.rider.edu/ebooks/ebsco 
901    MARCIVE 20231220 
948    |d20160616|cEBSCO|tebscoebooksacademic|lridw 
994    92|bRID