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The first of these is the notion, remaining from classical Greek culture, that all is in vibration, and that musicians and music instruments capture fragments of celestial music.This thinking is doubled in the machinery used to produce music up until the late nineteenth century. At that point, the inscription of actual sounds completes a process started in the shape of the musical score, and the phonograph inspires a new way of imaging sound as something that is present when brought out, and becomes more human as a result.
page 24 of Noise/Music: A History by Paul Hegarty
I also think this pertains to Tom Cowan.
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