Musical Borrowing
An Annotated Bibliography

Individual record

[+] Iber, Michael. “Soundalike: Sounds Like Sounds We Like.” Neue Zeitschrift für Musik 166, no. 6 (November-December 2005): 16-17.

The context in which we hear a piece of music deeply influences how we understand how it is “supposed” to sound. The background noise of a concert hall, the imperfections of a recording, or hearing a transcription rather than an original version of a work can imprint a specific set of meanings and values in a listener. Drawing on a long tradition of transcription through listening, the “soundalike” project attempts to capture the unique qualities of a specific performance or interpretation of a piece by using software to create a graphical transcription of a recording. A “soundalike” transcription of a chamber orchestra arrangement Schumann’s “Träumerei” captures many of the details that make the sound event unique, including tempo fluctuations and overtones. The project ultimately treats a single recording or performance as a one-off event, even an “original” work with its own distinctive qualities, and spurs renewed discussions about the relationship between authorship, score, recording, and the musical work itself.

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Contributed by: Matthew G. Leone

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Musical Borrowing and Reworking - - 2024
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