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Introduction – My roots as a jazz musician.I have organized this article into four main sections: In searching for a natural synthesis between both forms of music, I discovered they can be united in their motive and meaning to achieve musical transcendence. During this process, I underwent a cultural assimilation to learn the authentic language and spiritual nature of the ragas, an experience that has radically transformed me and given me a path to find my own voice as a traditional raga musician and a contemporary improviser. My efforts to traditionally render this music on saxophone have been received with great support and enthusiasm from today’s maestros, who have listened to my performances and approved my approach as containing the traditional mood and spirit of the ragas. I feel a great privilege in being a forerunner of North Indian classical music on the saxophone, which has also lead me to research and develop the first Indian-tempered saxophone: the Shrutiphone. To this day, there has never been an accomplished saxophonist of North Indian classical music, and hence no Guru or maestro to provide traditional training on the instrument.

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goals, I sacrificed my Western professional music life in order to live in Kolkata, India and immerse myself in the traditional Indian way of life, and after years of pursuing this path, I have grown as a musician and artist far beyond my expectations. This journey has been an intensive process spanning ten years of practice and training under the close guidance of my Guru. In this article, I share insights and experiences of my journey from the world of jazz and creative improvising to the traditional training of my Guru that helped me to pioneer the expression of North Indian classical music on the tenor and soprano saxophones. Each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts, and the volume concludes with a glossary, a timeline, and an extensive discography.

While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical.Īudio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Ornette Coleman, Pauline Oliveros, Maryanne Amacher, Glenn Gould, Umberto Eco, Jacques Attali, Simon Reynolds, Eliane Radigue, David Toop, John Zorn, Karlheinz Stockhausen, and many others.

Instead of focusing on some “crossover” between “high art” and “popular culture,” Audio Culture takes all these musics as experimental practices on par with, and linked to, one another.

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Taken as a whole, the book explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno via writings by philosophers, cultural theorists, and composers. This new and expanded edition of the Audio Culture contains twenty-five additional essays, including four newly-commissioned pieces. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. The groundbreaking Audio Culture: Readings in Modern Music (Continuum September 2004 paperback original) maps the aural and discursive terrain of vanguard music today.

Finally, the author explores the philosophical implications of technology-based composition and arranging on creative music making from the production and engineering perspectives, and how these issues affect music industry and technology related coursework. The paper considers issues of realism, authenticity, and professional best practices concerning scoring and mixing. Results of the study suggest that by employing a modest and conservative approach, virtual instruments can support the timbral qualities of an existing jazz recording, provided they remain unobtrusive.

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How do digital audio workstations affect the creative and technical decisions of a live trio recording? How might a listener perceive these changes? What roles do the sound engineer and arranger have in creative decision-making? The study investigated how using contemporary recording software changed the perceived timbre of an unreleased jazz trio recording from 2007 through technology-mediated production and thoughtful arranging. This paper details a practice-led, reflective study rearranging a studio jazz trio recording into a new, hybrid-ensemble piece with sample-based instruments and sound libraries.