Media and technology

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The music that composers make can be heard by various means; The most traditional way is to listen to it live, in the presence of musicians (or as one of the musicians) in an interior or exterior space like an amphitheater, a concert hall, a cabaret of life or theater. Since the 20th century, live music can also be transmitted via radio, television or Internet, or recorded and played on a CD player or MP3 player. Some musical styles focus on producing a sound for a performance, while others focus on producing a recording that mixes sounds that are never played “live”¬†source. This often uses the possibility of editing and splicing to produce recordings that can be considered “better” than actual performance.

Technology has had an influence on music since prehistoric times, when people used the caves of simple tools to drill holes in bone flutes 41,000 years ago. Technology has continued to influence music throughout the history of music, as it has allowed the use of new tools and systems of reading musical notation, one of the notable moments of musical notation the invention of music In the 14th century, more time had to be copied by hand. In the 19th century, music technology led to the development of a more powerful, piano forte and led the development of new brass valves. In the early twentieth century (late 1920s), as images emerged in the early twentieth century, with their pre-recorded music tracks, a growing number of film orchestra musicians found themselves out of work. During the 20 live musical performances by orchestras, pianists and theater organists, they were common in first-time theaters. With the advent of talking movies, the shows presented were largely eliminated. The American Federation of Musicians (AFM) has published announcements in the newspapers to protest against the replacement of musicians with mechanical devices. A 1929 announcement appeared in the Pittsburgh press presents an image of a box called “Canned Music / Big Noise Brand / Guaranteed to produce an intellectual or emotional reaction”

Since legislation to help protect performers, composers, publishers and producers, including the 1992 US Home Audio Recording Act and the revised Bern Convention for the Protection of Works was introduced Literary and artistic in the UK, have also become more accessible through computers, devices and the Internet in a form that is commonly known as music on demand.

In many cultures, there is less distinction between reading and listening to music, since almost all are involved in a kind of musical activity, often communal. In industrialized countries, listening to music through recording, such as sound recording or watching a music video format, became more frequent than the experience of shows in the mid-20th century.

Sometimes performances incorporate prerecorded sounds. For example, a disc jockey uses a disc to pitch, and some works of the twentieth century have one for an instrument or voice that is performed with music that pregrabó on a tape. Computers and many keyboards can be programmed to produce and play music from Musical Instrument Digital Interface (MIDI). The public can also become artists by participating in karaoke, an activity of Japanese origin centered on a device that plays songs vocal versions eliminated known. Most karaoke machines also have video screens showing the lyrics of the songs that are made; The performers can follow the lyrics they sing on the instrumental tracks.

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