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The author challenges perceptions of authorship within the practice of field recording, discussing sonic arts responses to political subject matter and examining the power dynamic among recordist/composer, subject and listener. He considers compositions drawing on recordings of protests as a medium to represent political content without recourse to language.
|Additional Information:||Published by MIT Press 2016.|
|Subjects:||M Music and Books on Music|
|Divisions:||School of Arts > Department of Creative Practice & Enterprise - Centre for Music Studies|
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