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The Musical Work: Reality or Invention?Reality or Invention?$
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Michael Talbot

Print publication date: 2000

Print ISBN-13: 9780853238256

Published to Liverpool Scholarship Online: June 2013

DOI: 10.5949/UPO9781846313615

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 20 September 2021

Work and Recordings: The Impact of Commercialisation and Digitalisation

Work and Recordings: The Impact of Commercialisation and Digitalisation

(p.88) 4 Work and Recordings: The Impact of Commercialisation and Digitalisation
The Musical Work: Reality or Invention?

Catherine Moore

Liverpool University Press

This chapter examines the impact of commercialisation and digitalisation on musical work and recordings, focusing on the mutations formulated by Bill Laswell and how they manifest the recording industry's propensity to continue to manipulate sounds after the initial performance is over. Due to commercial pressures and technological wizardry, the recording becomes not only the reproduction of a musical performance but also a carefully formulated ‘work’ in its own right. This is evident in recordings of popular music, whereby technology and business are a necessary part of the creative process. The chapter also considers how music recordings transform consumers into listeners, the role of listeners' judgement in determining a work's future, and the economics of the seller/buyer relationship.

Keywords:   Bill Laswell, commercialisation, digitalisation, musical work, music recordings, popular music, technology, business, consumers, listeners

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