{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/445h98zs5v/manifest","type":"Manifest","label":{"en":["Studio Editing: Moral Dilemmas and Implications for Discographers"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Edward Berger (Presenter)","Vincent Pelote (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2016 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIt is surprising how little jazz fans and even some jazz scholars know about how a recording is made, especially about the pervasive role of editing and overdubbing, particularly in this digital era. The use of extensive post-production manipulation has implications for discographers attempting to document the recording process, for musicologists transcribing and analyzing performances, and for writers and critics attempting to make aesthetic judgments about artists and their work. How should they approach issued performances comprised of segments recorded at different times, in different places, and that may even involve different artists? The task is compounded by the fact that the producers and artists are usually not forthcoming in revealing the gory details of what went into the final performance. Careful listening can often reveal edits and other anomalies in many well-known jazz recordings. The author will briefly survey the history of these practices and, through many audio excerpts, will discuss the types and reasons for editing, from fixing errors to creative purposes, such as Teo Macero’s work with Miles Davis. Ethical questions will be raised concerning such practices as” musical necrophilia” (i.e. a live artist recording with a deceased one ala Natalie Cole with her father or Kenny G with Louis Armstrong). Finally, using audio samples from his own modest career as producer, the author will play examples of several of these practices and discuss the rationale for their use.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eIt is surprising how little jazz fans and even some jazz scholars know about how a recording is made, especially about the pervasive role of editing and overdubbing, particularly in this digital era. The use of extensive post-production manipulation has implications for discographers attempting to document the recording process, for musicologists transcribing and analyzing performances, and for writers and critics attempting to make aesthetic judgments about artists and their work. How should they approach issued performances comprised of segments recorded at different times, in different places, and that may even involve different artists? The task is compounded by the fact that the producers and artists are usually not forthcoming in revealing the gory details of what went into the final performance. Careful listening can often reveal edits and other anomalies in many well-known jazz recordings. The author will briefly survey the history of these practices and, through many audio excerpts, will discuss the types and reasons for editing, from fixing errors to creative purposes, such as Teo Macero\u0026rsquo;s work with Miles Davis. Ethical questions will be raised concerning such practices as\u0026rdquo; musical necrophilia\u0026rdquo; (i.e. a live artist recording with a deceased one ala Natalie Cole with her father or Kenny G with Louis Armstrong). Finally, using audio samples from his own modest career as producer, the author will play examples of several of these practices and discuss the rationale for their use.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/098/114/small/1601668830_ARSC_conf_2016_Berger_video.mp4_1601668850.jpg?1601654455","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/98114","type":"Canvas","label":{"en":["Media File 1 of 2 - 1601668830_ARSC_conf_2016_Berger_video.mp4"]},"duration":1603.34933,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/098/114/small/1601668830_ARSC_conf_2016_Berger_video.mp4_1601668850.jpg?1601654455","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/98114/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/98114/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/098/114/original/1601668830_ARSC_conf_2016_Berger_video.mp4?1601654447","type":"Video","format":"video/mp4","duration":1603.34933,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/98114","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/255740","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2016_Berger_audio.mp3"]},"duration":1619.33863,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/255740/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/255740/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/740/original/ARSC_conf_2016_Berger_audio.mp3?1730749054","type":"Audio","format":"audio/mpeg","duration":1619.33863,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/30146/file/255740","metadata":[]}]}],"annotations":[]}]}