Simulacrum

1120918 Simulacrum - the rise of the copySimulacrumthe rise of the copy

Introduction

In Postmodern and Poststructuralist theories, the simulacrum as a concept has risen to prominence. The term has described some major developments in other art-based disciplines, but has not especially been explored in terms of developments in music. Perhaps because of the ephemeral nature of a musical performance, the idea of an original and copy has not particularly been of concern. But the nature of performance and, indeed, of transferring information about musical performance has changed.

The research explores the growing phenomenon within the wider Music-using community of the growing use of the copy at the expense of the original. The copy has found it's way into the hands of the listener through recorded material - both of performances recorded live and of 'studio' recordings, which are, arguably even more artificial than live recordings. Performing musicians also are exposed to recordings as a means of learning works and as access to definitive interpretations of works: the score is no longer the only or even primary source of material for the performer to consult. Composers make use of virtual sound banks to 'test' their writings or even write for virtual ensembles where the 'live' musician has very little input. Sampling also makes use of the 'copy' to create new 'originals'.

The study does not set out to bemoan the loss of the 'live' or 'original' - but rather aims to explore the developments as they affect the various players within the gambit of the life of Music in society.

The term simulacrum has been used extensively within the Fine Arts, but has not made much inroads within the domain of Music studies. Dealing, as it does, with the idea of the copy and the original and the hypothesis of the genuine copy or the copy superseding the original in value, the term might be transferable to this discipline.

The paper aims to show that the term, with its newer interpretation, coloured by Postmodernist theorists and philosophers, is applicable to developments within the wider understanding of Music. To this end the term would need to be unpacked and, perhaps, attuned slightly to the rigours of this discipline. It might become apparent that the term itself is irreconcilable to use within the discipline, but that would be determined as the study progresses.

If the copy version of music is regarded as superior to the original then it would be important to take note of this development, not necessarily to find ways of preventing it, but of understanding it and finding ways of adapting to what would then be the rise of the copy in importance.

Perhaps an understanding of how the copy is generated from an original or an understanding of what defines the original and the copy could result in copies being imbued with more of the characteristics of the original thus retaining some of the more intrinsic values which might otherwise be lost or merely glossed over.

The use of the original and / or copy in a given scenario might inform in different ways and thus knowing which is better suited for use to reach a particular aim would have benefits.

The world around us seems to be relying more and more on the virtual version of itself - especially with regard to entertainment and education. Research which helps clarify the implications of this would result in better decisions and programmes being developed to directly address instances where the use of one or the other would be beneficial. This would be of benefit then not only to educators and entertainers, but also to the listeners and consumers.

Further, if a philosophical concept applied in another discipline has implications within Music, it may inform a field of discussion and our understanding of Music in general.

The research would thus comprise an overview of the term from within its philosophical framework. This would seek to expound especially the more accepted viewpoints regarding the term - the more marginalised views would probably merely cloud the application of the term within another discipline and would probably be better suited to a more intensive study of a particular aspect of the application of the term which would be beyond the scope of this study.

The term itself has been defined and demarcated through the deliberations and discussions of several thinkers and the juxtapositioning of these might inform the study significantly.

Further, a discussion of the use of the term within other disciplines would most probably be most informative. Its use, for instance, within the Visual Arts might have a direct correlation from which to position the use of the term within Music. Though the use of the term has been far wider than just the Visual Arts and those disciplines would need to be defined too.

Also a delineation of what comprises the original and the copy within the discipline of Music would need to be defined - from the listener to the performer and interpreter, from the analyst to the composer... not to mention the work itself.

This would imply that live performances and recordings are discussed:- the way Music is presented and stored- the difference in process between a live and studio recording and how that impacts on the concept here mooted- the means by which Music can be accessed by the listener

A further implication would be how the performer is affected:- what material is used in preparation for a performance (scores, recordings, &c)- what material is used for a performance (scores, recordings, &c.)- the differences in preparation for a live as opposed to a studio performance- is the studio performance still a performance- the role of the Sound engineer / Producer- anachronistic performances reproducing previous (historic) performances- streaming live performances to audiences in other locations (is there a difference between same time - different place performances compared to different time - different place performances)

So too the influence on the composer or writer of Music would be under scrutiny:- composing with samples- composing with digital tunings

Then there is the work itself:- the score- the live performance- the recording

Finally, hopefully, all the strings would be possible to be drawn together with the concept of the simulacrum being applied to Music. It may draw from the original use of the term in other disciplines but would benefit from an added richness and colour by having an association forged with another discipline where it has not received much attention.