Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-12-03T19:51:02.070Z Has data issue: false hasContentIssue false
  • English
  • Français

Technological Innovations in Contemporary Music

Published online by Cambridge University Press:  01 January 2020

Pierre-Michel Menger
Pierre-Michel Menger*
Affiliation:
Centre de Sociologie des Arts (CNRS EHESS), Paris
Get access Rights & Permissions [Opens in a new window]

Extract

The subject of my paper is the use of new technologies in serious musical creation. Although I cannot develop the comparison with popular music and its mass market, one will understand implicitly the importance of the fact that ‘all of my story’ is set within the institutions and environment located on the edge of the market. My aim is not to show why diverse technologies that have appeared in the last 40 years have been exploited by composers, but rather how innovations such as electroacoustic and computer music were able to ‘succeed’. I employ the word ‘success’ in the organizational sense: it is the lasting formation of new segments of musical creation and the mobilization of composers, of partners from the scientific world, and of the technical and financial resources for establishing these new segments.

Type
Articles
Information
Journal of the Royal Musical Association , Volume 114 , Issue 1 , 1989 , pp. 92 - 101
Copyright
Copyright © 1989 Royal Musical Association

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Becker, (Howard S.), 1982. Art Worlds (Berkeley and Los Angeles)Google Scholar
Ehrlich, (Cyril), 1985: The Music Profession in Britain since the Eighteenth Century (Oxford)Google Scholar
Lewis, (David), 1969. Convention (Cambridge, Mass)Google Scholar
Menger, (Pierre-Michel), 1983 Le Paradoxe du musicien (Paris)Google Scholar
Menger, , 1987: L'Art entre science et technique (Paris)Google Scholar
Nash, (Denmson), 1970: ‘The Career of the American Composer’, in Albrecht (Milton), Barnett (James), Griff (Mason) (eds), The Sociology of Art and Literature (London)Google Scholar
Olson, (Mancur), 1966 The Logic of Collective Action (Cambridge, Mass.)Google Scholar
Pasler, (Jann). 1987 ‘Musique et institution aux Etats-Unis’, Inharmoniques, No 2 (Paris)Google Scholar
Peacock, (Alan), Weir, (Ronald), 1975. The Composer in the Marketplace (London)Google Scholar
Turkle, (Sherry), 1984 The Second Self (New York)Google Scholar