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Re: FORENSIC MUSICOLOGY

I think it's amazing that this whole scandal, unprecedented in the history of music reproduction, has received such a seemingly scant response from Asylum inmates. It is, literally, inconceivable that it could have happened. Nothing of it can be explained in any way. "What were they thinking?" is not even remotely adequate as our question. It's just too fantastical. And just to think of the repercussions of it all!

On the other hand, it raises interesting questions about intellectual property and the issue of authenticity of a work of art, something we've mostly been confronted in rap/DJ/house music up to now. What's borrowing, what's an adequate degree of alteration that makes the work into something else, into something new "belonging" to someone else? Why didn't those originals that you, Ramesh, list ever receive even the faintest amount of notice from the critics and the music lovers all around the world, but were immediately and unconditionally hailed as masterpieces after the 0.5% to 14% manipulations in pitch, equalization, and length by the Hatto "production" team? Were those tiny changes just that one little thing that elevated these works from mere ho-hum to the rank of timeless masterpieces? Or are the critics just really unbelievably stupid, unmusical, and psychologically infantile (herd mentality and cult cravings)? Don't tell me that those same critics had never listened to Ashkenazy, Haitink, Salonen, Bronfman, Previn, even Muraro and Paul Kim in these works (I've read reviews).

Curious. Baffling. Impossible. Good to get your updates on this, what seem to be unfolding as the biggest-ever scam in classical music (dunno about other genres), Ramesh. What else might be out there that we don't know of?

T.


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