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Ask Slashdot: Will Technology Disrupt the Song?
An anonymous reader writes: The music industry has gone through dramatic changes over the past thirty years. Virtually everything is different except the structure of the songs we listen to. Distribution methods have long influenced songwriting habits, from records to CDs to radio airplay. So will streaming services, through their business models, incentivize a change to song form itself? Many pop music sensations are already manufactured carefully by the studios, and the shift to digital is providing them with ever more data about what people like to listen to. And don't forget that technology is a now a central part of how such music is created, from auto-tune and electronic beats to the massive amount of processing that goes into getting the exact sound a studio wants.
The "sound" of a badly encoded MP3 is already influencing the way people sing - it's almost as if they think those artefacts and unwanted harmonics are something that makes a voice a good singing voice, because that's what they hear when someone holds a long or high note. Bloody hateful.
I dislike these medium.com articles as much as anybody, but there is a whopper of an Easter Egg in it.
It's that picture at the top- bits of a Score written in some kind of Latin. (There are many kinds...)
This comes from the commissioned, by Cardinal Ascanio Sforza, work of one Florentius de Faxolis, a 15th century Priest and Musical Scholar.
He had written a work on Music Theory for the Cardinal, on what makes _Good_ _Music_.
I once read some of the Book, at Berkeley. It emphasized short pieces, repetition, and simple melodies. (I had to have my God-Daughter translate some of the more obscure parts. The Latin in the commentary was difficult.)
It was written in Manuscript form; the only widely distributed printed edition is only five years old.
http://www.hup.harvard.edu/catalog.php?isbn=9780674049437
Time is 100% relevant to this discussion. Music history is littered with examples of songs that have had their structure and duration altered as a result of outside forces. Donovan had to make a decision when recording "Hurdy Gurdy Man" whether to include all 3 verses he wrote, or 2 verses and a guitar solo, as there wasn't time to have 3 verses plus a solo within 3 minutes. The Byrds had loads of songs where even more verses were cut out to keep them down to a radio-friendly length. While radio stations aren't as anal about running times these days, you still won't hear a 10-minute song on the radio. And there's no disputing that that particular limitation had a deep effect on much of the music of the previous century.
As for how streaming services will affect music - I think a lot of the pressures they put on writers are similar to radio. They work better with shorter pieces of music that are free-standing in the sense that they will work when played between any two other songs. So, less emphasis on things like thematic consistency (both in lyrics and music). Really the only thing I see different in streaming (vs. radio) is that in streaming it's easier to skip a particular song, so the listener is able to shut himself out more from experimentation. He can decide within 15 seconds if a song presents a sound he deems to be acceptable, and whether he wants to skip it. Whereas on the radio, he would be "forced" to listen to the whole track. I don't think this will be much of an issue though, since radio stations as well as streaming services both usually cater to a specific genre anyway - they're certainly not hotbeds of experimentation.
I don't think it's an arbitrary cut (at least not until you get to, say, Wagner, where selections really do tend to look like 'bleeding chunks'). In earlier operas, there's usually a pretty clear distinction between recitative and aria, not that much different to the songs in a musical today (or even the singles from a 'concept album'). Of course you can argue that composers with a bit of business sense had an eye on the technology of the time - popular arias were sold individually as sheet music, and later as records - I've seen the 78 described (in the LP era) as 'still the ideal medium for a Puccini-length aria'. Puccini died in 1924, and many of his arias were the early hits of the gramophone. Short-form music has always been popular, though. How many popular folk songs go on for more than 5 minutes? In church music, the choir may tackle longer form works, but the hymns the congregation sings generally aren't much longer than a pop single.