Virtuality in Music and Musicians
The readings for this week involve issues of virtuality in both musicians and in music itself. With the trend of increased digital and online presence from artists, it can become difficult to unpack the implications of this “virtual” trend on the authenticity or “realness” of the music.
The definition of “virtual” can spark debate in itself. Echard referenced the philosophy of Gilles Delouze, who saw virtuality as “that which is real, but not actual” (Echard, 8). The key in virtuality is the process of becoming, much like sound from an instrument becomes music. This distinction, that of identifying the virtual vs. the actual, allows us to see the transition from virtual to actual as a process (of becoming).
Echard claims that virtuality is seen in many ways.
1) Through multiplicity in representation (different performances of a single work)
2) Through affect - the capacity of an entity to affect and be affected.
Some bold claims made by Echard that are noteworthy include:
“…musical texts and objects themselves are virtual in nature.” (10)
and that
“ …involvement in music often affords performers and listeners a heightened
sensitivity to virtuality.” (11)
The Case of The Beatles
According to Auslander and Inglis, the Beatles were one of the groups with a major virtual presence, and that they laid a path for virtual artists of the latter half of the 20th century and today. In other words, they were the first group to substitute a virtual presence for a physical one. Through their presence in an animated series, TV shows, movies, and studio recordings, they were able to alleviate the stresses of demand for public performance. The extent of this even led to their virtual presence playing a major role in public perception of their “characters” and music.
By participating in these virtual endeavors fans could experience the same types of connection with the group. When discussing their 1970 film documentary Let It Be, the authors write that:
“The film’s intended objectives were to reduce on screen the distance between musicians and audiences in a way that would have been impossible in the physical world, and to provide audiences with insights into the recording and performing process not accessible through conventional record consumption or concert attendance.”
Authenticity
In the age of virtual musicians, a trend of disdain occurs in regards to authenticity. Jackson and Dines offer the example of the Vocalic software developed by Yamaha at the turn of the 21st century. The authors argue that Western culture is more accepting of the natural human voice, and views the vocalic software as inauthentic. The most identifiably contrasting region where this software/technique is widely used and accepted is Japan. In a sense, the authors challenge the readers to view the use of this music just as any other creative music making:
“By perceiving the vocaloid software as a creative process in itself and as a natural progression of this theatrical tradition of illusion (rather than a more ominous prediction of the future), we may see a platform for expression instead of a threat to creative freedom.”
The authors also incorporate the history and popularity of Bunraku, the centuries-old practice of puppetry in Japan. This creative process involves the audiences suspension of disbelief. The audience is both aware of the lack of “realness,” but accepting of the plot, characters, and music as a creative process.
“…just as Bunraku puppets explored the self through the relationship between illusion, reality, and puppetry, vocaloids are exploring the enigma of technology within the modern, with both incorporating the controllers as being real or recognized as part of the illusion on stage.”
Questions
1) What does "virtual" mean? How do the authors differ in their definition and/or focus?
2) What platforms or types of media constitute "virtuality?"
3) Does software such as the Vocaloid example affect the authenticity of music? Why or why not?
4) What does Echard mean when he states that "a musical instrument is a means to actualize music as sound?"
5) In relation to The Beatles, in what ways do modern artists substitute virtual presence for a physical one? Specific examples?
1. In regards to the definition of "virtual", I think we traditionally gravitate more towards the manner in which Jackson and Dines describe, involving a departure from "human-ness" and instead a type of abstract, fairy-tale nature. Auslander and Inglis define virtuality similarly when discussing the Beatles. While the technology available at this time was less advanced than it is today, these artists found ways to augment and substitute for their physical presence with alternate representations. Echard's definition of virtual, in contrast, struck me as an angle I had not previously considered. The concept that music is virtual due to the idea of multiplicity of representation is interesting. This is one of the topics we've talked about in depth throughout the weeks in class, with the whole definition of music (Is sheet music music? Is sound music? etc). However, saying music is virtual because it can be represented multiple ways and performed differently at different times seems like a very different discussion than the notion of virutality that is brought up by auto-tune and the Beatles.
2./5. In today's society, so many platforms can constitute virtuality. Musicians have Facebook and Twitter presences, YouTube channels to post new music, and websites to keep people updated about upcoming concerts/events. In a sense, it would be nearly impossible to be a professional or popular musician today without a virtual presence. Since we, as a society, rely on the internet for our information, we similarly turn to this platform when looking into music/musicians. For example, I follow several of my favorite pop artists on twitter. Through this platform, I am often able to see aspects of their personalities, or at least their construction of personalities. When represented virtually, we can be anything we want to be. Truthfully, I do not even know that these people are composing all of their own tweets. However, I become drawn into this phenomenon of believing these musicians are "just like me" when they post pictures of their dog or talk about politics, for example. Also, when looking into online communities, it became evident that many musicians use a virtual presence to be discovered. They post videos or tracks online in hopes that someone will find them, or join sharing sites to connect with others who may be able to help. Some artists achieve their notoriety entirely through YouTube, doing very little in the area of live performance or the production of full-length albums.
3. In regards to the question of authenticity in music, I think this depends largely on the goal of the performer, and the expectation of the listener. For example, if you are an EDM musician, people will expect that you have altered the sounds from their original state, much as those watching puppet theater enter with certain expectations. In this, software and resources provide an additional artistic tool to adapt and nuance the music. Yet, when these technologies are used in an attempt to hide imperfections or claim something false, authenticity diminishes. For example, if someone is claiming to be a folk artist and producing low-fi tracks with an acoustic guitar, yet utilizes software to improve their pitch accuracy, this does not seem authentic. What my argument boils down to is if you are using software as part of the artistic process, this is more authentic than if you are using it simply as a band-aid for your own artistic shortcomings. This is a bit of a slippery slope, as I can see where this line is certainly not always clear, but it is a starting point for discussion.
In response to the questions posed by Robert and connecting some of this to what Hayley has written, I believe authenticity in music is inherently personal and subjective to the original intent of the artist. While superficial claims can be made to the craftsmanship of certain genres of music and quality of skill and artistry can play a biased role, the implications of questioning authenticity generally serve to diminish what is intentional (if the product is intended to be presented in the way the listeners perceives it). In regard to the Vocaloid, I don’t believe it to be inauthentic as it has presented itself to be a digital, live performance by a digital character. I believe authenticity comes into question when the intention or the “marketed” product is advertised in direct conflict with what is presented or provided in exchange. In talking about the music, I also believe the authenticity is present in the way the product is being marketed.