Abstract
This chapter looks at artists’ experiences of combining live and recorded music production practices. It shows how the use of digital technology allows recordings to be altered (and remixed) quickly in new places, allowing them to be colored by shifting circumstances and to incorporate various “live” elements. On the flip side, live concert performances are now increasingly encompassing preproduced elements, as well as various studio-related practices (recording, composing‚ processing). The relationship between artists’ actions and the sounds they produce is reckoned against the ways in which audiences might perceive, interpret, and interact with artists and their music. The chapter also engages with two challenges of contemporary musicianship, in genres ranging from pop to jazz: translating studio works into a persuasive live performance, and improvising and creating something new by recording, editing, and mixing music live on stage.
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- 1.
See the Punkt festival website for more information about the concept: http://www.punktfestival.no/about.php.
- 2.
For example, see Maja Ratkje’s live performance at the River to River Festival in New York in 2013, which was recorded and made available at https://vimeo.com/93646937.
- 3.
This performance at the Kontraste Festival is available at https://vimeo.com/52389147. Other recordings are available at https://vimeo.com/search?q=maja+ratkje.
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Kjus, Y. (2018). Creating Studios on Stage. In: Live and Recorded. Pop Music, Culture and Identity. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-70368-8_3
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