{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/639k35nx36/manifest","type":"Manifest","label":{"en":["The Disappearing Sessions: The Significance of Sessions in Discography"]},"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":["Tore Simonsen (Presenter)","Mark Hood (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-22 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["When Charles Delaunay published his Hot Discography in 1936 he established a model for bibliographic references to sound recordings, based not on the tangible shellac record but on the somewhat more abstract concept of sessions; in those days rendered concrete through matrices on wax or lacquer and identified by matrix numbers. Jazz, as improvised performances of ontologically very thin compositions (to paraphrase some music philosophers), was perfectly well suited to this kind of documentation. Sound technology itself has, however, forced us to rethink the connection between music as an abstraction and the documentation of its audible artifacts. In the shellac era one could regard a session matrix as a representation of one specific musical event, fixed in its space and time coordinates. This was true also for non-improvised music, such as classical or studio- based pop music. As a result of today's recording practice however, this last kind of music has become a studio construction, not a \"performance\" at all. Music philosopher Lee Brown calls this \"works of phonography,\" a term the author would contend could be used for all recorded music: even classical recordings are constructed during recording and postproduction to create an audio event never heard live. As such, however, they no longer have any simple connection to the session concept; the session disappears behind the finished production. But what should a discography document, if not the sessions? This paper discusses how modern studio practice changes the way we think about documentation of sound recordings—and points to some possible solutions."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["When Charles Delaunay published his Hot Discography in 1936 he established a model for bibliographic references to sound recordings, based not on the tangible shellac record but on the somewhat more abstract concept of sessions; in those days rendered concrete through matrices on wax or lacquer and identified by matrix numbers. Jazz, as improvised performances of ontologically very thin compositions (to paraphrase some music philosophers), was perfectly well suited to this kind of documentation. Sound technology itself has, however, forced us to rethink the connection between music as an abstraction and the documentation of its audible artifacts. In the shellac era one could regard a session matrix as a representation of one specific musical event, fixed in its space and time coordinates. This was true also for non-improvised music, such as classical or studio- based pop music. As a result of today's recording practice however, this last kind of music has become a studio construction, not a \"performance\" at all. Music philosopher Lee Brown calls this \"works of phonography,\" a term the author would contend could be used for all recorded music: even classical recordings are constructed during recording and postproduction to create an audio event never heard live. As such, however, they no longer have any simple connection to the session concept; the session disappears behind the finished production. But what should a discography document, if not the sessions? This paper discusses how modern studio practice changes the way we think about documentation of sound recordings—and points to some possible solutions."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"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/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128147/file/239789","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Simonsen_audio.mp3"]},"duration":1580.15494,"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/2670/collection_resources/128147/file/239789/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128147/file/239789/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/789/original/ARSC_conf_2010_Simonsen_audio.mp3?1714149253","type":"Audio","format":"audio/mpeg","duration":1580.15494,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128147/file/239789","metadata":[]}]}],"annotations":[]}]}