A magic science
Rock Music as a Recording Art
Bibliographic Data
| ID | 7355686 |
|---|---|
| Authors | Paul Clarke (0000-0002-1302-1965, corresponding author) |
| Year | 1983 |
| Volume | 3 |
| Pages | 195-213 |
| Publication date | 1983-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0261143000001628 |
| OpenAlex | W2061832715 |
| Language | EN |
| Citations received | 9 |
| References cited | 2 |
Jimi Hendrix once claimed ‘I'm working on music to be completely, utterly a magic science’ (Henderson 1981, p. 337). It is a description that fits not just the best of Hendrix's own music, but the best of all that late twentieth-century music in which the ability to capture and control sounds (on tape or disc) has become a means of extending old musical forms and traditions, and establishing new possibilities for them. Throughout his career, Hendrix drew nourishment from his musical roots in black traditions, but it was not until the summer of 1967 that he plugged himself fully into the new possibilities opened up by the technology of sound recording. Hendrix had already proved himself something of a musical ‘magician’ in the ancient sense in that he attempted, through music, to mediate between order and disorder, using his guitar as an expressive extension of himself to flirt with the danger and power of musical disintegration (for the parallel with non-Western musical practice see Shepherd 1977, p. 72; Mellers 1973, pp. 24–6; Clarke 1982, pp. 227–9
Acoustics · Art · Art history · Guitar · Literature · MAGIC (telescope · Musical · Physics · Power (physics · Visual arts · Diverse Musicological Studies · Music History and Culture · Musicology and Musical Analysis
Everyday I Write the Book
Music 120
The Practice of Recording Music
Producing Artistic Value
The live album or many ways of representing performance
Shadows in the Field
Narrative, vocal staging and masculinity in the ‘Outlaw’ country music of Waylon Jennings
The diverting of musical technology by rock musicians
If you're gonna have a hit
| Unique citing works | 9 |
|---|---|
| Citations per year | 0,25 |
| Citation span | 1990 - 2014 (25) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 9 |