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Capturing Sound: How Technology Has Changed Music
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Capturing Sound: How Technology Has Changed Music [Format Kindle]

Mark Katz

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Descriptions du produit

Présentation de l'éditeur

There is more to sound recording than just recording sound. Far from being simply a tool for the preservation of music, the technology is a catalyst. In this award-winning text, Mark Katz provides a wide-ranging, deeply informative, consistently entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet. Fully revised and updated, this new edition adds coverage of mashups and Auto-Tune, explores recent developments in file-sharing, and includes an expanded conclusion and bibliography. Find illustrative sound and film clips on the new companion website at

New Yorker

“Of recent books . . . .Katz’s book is the most approachable. . . . In lucid, evenhanded prose, it ranges all over the map.”â€"Alex Ross

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 1103 KB
  • Nombre de pages de l'édition imprimée : 336 pages
  • Pagination - ISBN de l'édition imprimée de référence : 0520261054
  • Editeur : University of California Press; Édition : 1 (1 janvier 2011)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B0044KLQM8
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  • Classement des meilleures ventes d'Amazon: n°276.378 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Commentaires client les plus utiles sur (beta) 3.8 étoiles sur 5  6 commentaires
18 internautes sur 21 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A great read. 8 septembre 2005
Par Hugh Mckee - Publié sur
Although being a scholarly work, fully footnoted and with a complete bibliograpy this book, unlike much of academic production, is a great read.

I enjoyed it immensly.

It is a good companion to Michael Channan's book on the same topic."Repeated Takes: A Short History of Recording and Its Effects on Music".

If you are interested in the history of recording or just curious about how what we listen to came to be the way it is this book will delight you.
5 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Wonderful exploration of the topic, very readable! 14 avril 2012
Par MatthewT - Publié sur
Format:Broché|Achat vérifié
I use this book as a central text in music education courses I teach at the University of Illinois (undergraduate through doctoral), and my students overwhelmingly find it fascinating and readable. The author brings a wealth of primary sources that really convey how sound recording and music making co-evolved over the twentieth century.

This spring (2012) I had a chance to read the revised edition with a doctoral seminar, and I was very impressed with the number of refinements, extensions, and additional references. The revised edition reads as though Katz spoke with admirers and critics--some sections students found less convincing in the first edition have been greatly improved, and the best parts are untouched or improved. Given that many second editions today are cranked out simply to allow the publisher an opportunity to cut down on book reselling, a revision this extensive is uncommon and very welcome.

There are many wonderful books that deal with sound recording today, and having read many this remains the book I recommend most frequently.
6 internautes sur 8 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Profound insights for record-lovers and music-lovers 2 juin 2010
Par Michael Tiemann - Publié sur
I greatly enjoy reading books that cover ground that I think I know well, then proceed to reveal insights far deeper than any I'd yet contemplated. Mark Katz has done this with some of my favorite subjects, music, records and recording technology, and then proceeds to add an entirely new dimension to my understanding of how these all relate (and continue to evolve together). To do this, he remixes a great number of insights coming from previous works I have come to know and love, including Remix: Making Art and Commerce Thrive in the Hybrid Economy, The Rest Is Noise: Listening to the Twentieth Century, and a widely eclectic appreciation of recorded music that I also share.

And I am not alone in my appreciation for this book. In 2007 it won the Hacker Prize, which provided the following citation:

The Hacker Prize rewards exceptional scholarship that reaches a broad audience. The audience so captured by Capturing Sound is primarily an undergraduate one, thus Katz has presented the Committee with a welcome opportunity to reward pedagogical writing. Textbooks are a genre that always challenge, and usually defeat, even the best of writers. Breaking the mold of the seemingly objective, chronologically-impelled narrative, Katz has produced a very different kind of work that succeeds on three different levels, all of which are important to historians of technology.

I agree, and I think it will give other readers a new-found appreciation and understanding of their musical tastes and collections. And with the knowledge it imparts, you may find yourself discovering new evidence of the book's primary thesis: the phonograph effect. Even in today's world of CDs and MP3s (which, do not fear, Katz treats thoroughly).
11 internautes sur 18 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Successful in vibrato and Hindemith, dangerously off course on mediation, IP, & hip hop 12 janvier 2011
Par Dude - Publié sur
Katz has a formal background in musicology, which means basically, extensive training in the history of western classical music.

Though the language and tone of the book is meant to avoid academic linguistic density, this paradigm (of classical music) is strongly evident in his methods, pacing, argument structures, and conclusions.

Sadly, there is absolutely no attempt at an ethno/socio/anthropo-logical approach in the book. So Katz is taking a background in classical melodic & harmonic & structural theory and history, and then applying it to a phenomenon (recorded sound) that has become inextricably wound up in SOCIAL factors of the day. How people share music is less purely musical phenomenon and much more largely a social one. Katz does not successfully convey the growing wealth of thought surrounding these studies.

By focusing solely on music in the recorded medium, he ignores the forest for the tree: what is happening with newspapers, videos, movies, books, theater, poety -- in other words, ALL MEDIA are undergoing transformation. To take an arbitrary slice out of this dense network of practices and consumer/audience expectations is a very difficult task, and I don't feel it's done successfully, here.

The overall form is a loose chronological history, which falls prey to the danger of technological determinism, that one scenario led to the next, inventions directly resulting in practices, and so on, until we got to where we are today. Katz chooses not to confront the paradigm shift of decentralized communications and media distribution. It's all about a progression of distribution media and their physical properties.

Also, very little consideration was given to the idea of authorship, intellectual property, sampling as an artistic vs. reproductive art, etc. The ideas are passed-over during a discussion of sampling, but not elaborated.

Where Katz succeeds is in his realm of expertise: classical music. His treatment of records and violin vibrato and Hindemith's grammophone music are well executed reflections of those particular moments of history. But in ignoring huge areas of communications studies and giving an extremely weak treatment of hip hop, Katz shadows these achievements.

Katz' colorful description of a DJ battle, described in fantastical imagery, are absolutely cringe-inducing to me, personally. Given the well-acknowledged dangers of exoticism and neo-colonialism in ethnographic work, Katz is remiss for slipping into a language that could be taken as a neo-colonial musicological expedition. It is quite telling that he lists no references to Steven Feld's work. This chapter prompts me to imagine a photograph of him posing, one knee hiked up, on a speaker cabinet, holding his jungle-explorer's helmet against his waist, so proud of the discovery he is about to share with the world: the DJ....
1 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great Insight 5 juillet 2008
Par D. Hadley - Publié sur
This book gives the reader great insight on the effects of recorded music and the effects on society. A must read for anyone into music.
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