All these professional machines incorporated three tape heads (erase, record and replay), allowing the user to check the quality ‘off tape’ whilst creating a recording. Miniature valves made it possible for EMI’s later machine, the TR/90, to fit into a standard 19-inch rack or into a mobile trolley. This was corrected in the company’s next model, the massive BTR/2, many of which remained in service at the British Broadcasting Corporation (BBC) until the 1970’s. As in some continental machines, the tape heads on this recorder faced away from the operator, making tape editing very tricky. This was the Magnetophon, the first real tape recorder.Īt the end of hostilities, the arrival in Britain of these advanced machines came as a shock, persuading EMI to build the British Tape Recorder 1 or BTR/1, mainly based on the original German design. Conscious representation for the performer occurs when they hear their own performance.During World War II, whilst radio reporters in the battlefields of Europe were preparing their recordings on shellac-coated disks, the Nazi propaganda machine was broadcasting material prepared on the recording machine of the future. I argue that motor creativity in music performance is achieved through the nonconscious parameterization of inverse models without conscious representation of the goal of the action. ![]() Nonconceptual relational perception can account for novel apprehensions by music listeners, but not for the production of novel configurations by the performer. A general argument for nonconceptual perceptual content as perception of relations between magnitudes within the specious present is extended to music and argued to account for both the polysemic richness of music and its processuality. ![]() Taking an analytic philosophy and cognitive science approach, I argue that apprehensions of immanent meaning depend on relationships between proximal percepts within the specious present. A selective survey of music aesthetics shows that the defining qualities of music are the production of immanent rather than representational meaning polysemy and processuality. Such felicities depend on adjustment and fine control of dynamics, timing and tone colour within the parameters of the given. Serendipitous musical felicities in performance are valued. Posthardcore musicians work with minimal explicit knowledge of music theory and cognitive involvement in performance is actively eschewed. The investigation began with an ethnographic study of two ‘posthardcore’ rock bands in London and Bristol. The proposed theory is intended to account for creativity in music performance, but has implications in other areas for both creativity and motor actions. If the sound were mentally represented as an action goal prior to being produced, it would tend to be assimilated to a known action goal. The music performer faces the problem of how to escape sedimented musical paradigms to produce novel configurations of dynamics, timing and tone colour. This research proposes a theory of nonconscious motor representation which precedes mental representation of the outcome of motor actions in music performance. Keywords: phenomenology Pierre Schaeffer acousmatic reduced listening listening phenomena phenomenological reduction epoché natural and phenomenological attitudes ![]() Consequently, as this essay argues, Schaefferian phenomenology limited the totality of listening phenomena to its part, thus endangering the phenomenological project that it set out to do. The survey shows that, while Schaefferian phenomenology rightly-and timely-recognized the acousmatic situation, or more accurately, acousmatic attitude, as the phenomenological attitude under which our listening experience can be investigated phenomenologically, it misunderstood the workings of phenomenological reduction and employed only part of it. Aiming at examining Schaefferian phenomenology from the viewpoint of phenomenology proper, and in particular, critically observing how successfully Schaeffer understood the workings of key phenomenology concepts and applied them to his research on sound objects and listening, this paper conducts a short survey on the relationship between natural and phenomenological attitudes as well as the concept and implications of phenomenological reduction understood by phenomenology proper as well as by Schaefferian phenomenology.
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