Specificity of Using Phonograms in Popular Music
DOI:
https://doi.org/10.32461/2226-2180.44.2023.293929Abstract
The purpose of the research. This article attempts to characterise the interaction of sound directing practices with popular music during stage performances and concerts. The research methodology employed to address the set objectives consisted of a historical-cultural approach to analyse the development process of digital sound recording formats and innovations in concert touring practices, a philosophical-aesthetic approach when considering the aesthetic principles of the music and sound concept in concert performances, and a method of theoretical generalisation to draw conclusions and justify the specific features of the outlined issues. The scientific novelty of this article lies in being the first in Ukrainian science to substantiate and sequentially describe the work on recording playback phonograms in the studio, as well as their subsequent use together with live performances by artists during a long-anticipated concert tour as a unified music and sound image of the creative ensemble, based on teaching and sound engineering experience. Conclusions. With the development of digital means of artistic expression, the use of phonograms in popular music has gained significant momentum, with the main argument in favour being the "the main focus is the show programme". This, to some extent, justifies artists' performances to pre-recorded playback. Therefore, based on analyzed examples, the specificity of the sound engineer's work with a complex scheme of simultaneous use of phonograms from a player-recorder (HDR) and the sound accompaniment of the creative ensemble during stage performances is elucidated. The issues related to this practice and recommended methods to avoid them are highlighted. It is determined that the concert sound director is a central figure in creating a popular music stage performance. The level of artistic and spectacular event, regardless of the chosen performance format (playback or live performance) of the creative performer/ensemble, depends on their professional skills and practical experience in utilising innovative sound equipment. The use of a full or partial phonogram during a concert, presented to an enthusiastic audience, is a matter of professional ethics and the integrity of the artist(s). Failure to uphold these high components results in complete ruin of the performer's or creative ensemble's stage career. The final choice remains with the artists.
Keywords: sound directing, popular singing, backing vocals, instrumental performance, studio sound recording, phonogram, sound equipment.
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Copyright (c) 2023 Михайло Ужинський, Оксана Сметана
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