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Harry'ego Lehmanna rewolucja cyfrowa w muzyce Uzupełniające spojrzenie socjologii empirycznej

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Socha Z.

Audiosfera. Koncepcje – Badania – Praktyki

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2017

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issue 1(5)

44-50

EN

According to Harry Lehmann the philosophy of music as an academic field of study appears when musical complexity needs deeper philosophical interpretation and then disappears. Similar opinion has been a part of theoretical work of Aleksander Lipski about the rise of sociology of art in 20th century. Th at is why the digital revolution in the art of sounds can and should be studied in a sociological way. Lehmann sees this need but does not take this opportunity as a philosopher to fulfill it. However, he uses sociological terminology like: democratization or deinstitutionalisation. This article gives succor to the problem. It focuses on projecting empirical research which can be used to verify the speculative (or philosophical) character of Lehmann’s work.

2

Od wyczerpanego do samoświadomego pojęcia muzyki

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Lehmann H., Pasiecznik M.

Audiosfera. Koncepcje – Badania – Praktyki

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2017

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issue 1(5)

4-20

EN

This article develops a three-part argument with respect to the ongoing discussion in Germany whether the Digital revolution has been led to an extension or a dissolution or another change of the notion of music. The first part defines the original notion of New Music by four distinctions in respect to classical music, other arts, popular music and life-world experiences. The second part describes how and why these initial boundaries have been crossed in New Music’s history. The third part contends that the possibility to pass these borderlines does not result in an extended notion nor a dissolved notion of music but in a reflexive notion of art music.

3

Nie ja. Kompozytorska refleksja o tożsamości w kontekście przemian ekonomicznych doby cyfrowej

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Siechowicz P.

Audiosfera. Koncepcje – Badania – Praktyki

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2017

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issue 1(5)

31-43

EN

This analysis of Agata Zubel’s Not I brings to the fore the problem of the identity of the composer who is also the first and the model performer of her works. In the words of Not I written by Samuel Beckett that mean the negation of the first grammatical person sung by Zubel-performer tell the thoughts of Zubel-composer, who symbolically rejects reducing they creative output to he performing skills. Th e tension between the roles of the composer and the performer can be explained by the pressure from the new music market focused on the performance. Th e functioning of that market can be described in the terms of superstar economy. Although the long tail theory have predicted that digitalisation of the music market would result in the reduction of the superstar effect strengthening the position of other actors, new empirical data show that the digital market is heading in the opposite direction, making the difference between superstars and the others even bigger.

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3 Audiosfera. Koncepcje – Badania – Praktyki

3 2017

1 Lehmann H.

1 Pasiecznik M.

1 Siechowicz P.

1 Socha Z.

Harry'ego Lehmanna rewolucja cyfrowa w muzyce Uzupełniające spojrzenie socjologii empirycznej

Od wyczerpanego do samoświadomego pojęcia muzyki

Nie ja. Kompozytorska refleksja o tożsamości w kontekście przemian ekonomicznych doby cyfrowej