120918 Simulacrum - the rise of the copy

S i m u l a c r u m
the rise of the copy

INTRODUCTION

In Postmodern and Poststructuralist theories, the simulacrum as a

concept has risen to prominence.

The term has described some

major developments in other art-based disciplines, but has not

especially been explored in terms of developments in music.
Perhaps because of the ephemeral nature of a musical performance,
the idea of an original and copy has not particularly been of
concern. But the nature of performance and, indeed, of transferring
information about musical performance has changed.
The research explores the growing phenomenon within the wider
Music-using community of the growing use of the copy at the
expense of the original. The copy has found it's way into the hands
of the listener through recorded material - both of performances
recorded live and of 'studio' recordings, which are, arguably even
more artificial than live recordings. Performing musicians also are
exposed to recordings as a means of learning works and as access
to definitive interpretations of works: the score is no longer the only
or even primary source of material for the performer to consult.
Composers make use of virtual sound banks to 'test' their writings or
even write for virtual ensembles where the 'live' musician has very
little input. Sampling also makes use of the 'copy' to create new
'originals'.

120918 Simulacrum - the rise of the copy

The study does not set out to bemoan the loss of the 'live' or
'original' - but rather aims to explore the developments as they
affect the various players within the gambit of the life of Music in
society.
The term simulacrum has been used extensively within the Fine
Arts, but has not made much inroads within the domain of Music
studies.

Dealing, as it does, with the idea of the copy and the

original and the hypothesis of the genuine copy or the copy

superseding the original in value, the term might be transferable to
this discipline.
The paper aims to show that the term, with its newer interpretation,
coloured by Postmodernist theorists and philosophers, is applicable
to developments within the wider understanding of Music. To this
end the term would need to be unpacked and, perhaps, attuned
slightly to the rigours of this discipline. It might become apparent
that the term itself is irreconcilable to use within the discipline, but
that would be determined as the study progresses.
If the copy version of music is regarded as superior to the original
then it would be important to take note of this development, not
necessarily to find ways of preventing it, but of understanding it and
finding ways of adapting to what would then be the rise of the copy
in importance.
Perhaps an understanding of how the copy is generated from an
original or an understanding of what defines the original and the
copy could result in copies being imbued with more of the
characteristics of the original thus retaining some of the more
intrinsic values which might otherwise be lost or merely glossed
over.

120918 Simulacrum - the rise of the copy

The use of the original and / or copy in a given scenario might

inform in different ways and thus knowing which is better suited for
use to reach a particular aim would have benefits.
The world around us seems to be relying more and more on the
virtual version of itself - especially with regard to entertainment and
education.

Research which helps clarify the implications of this

would result in better decisions and programmes being developed to

directly address instances where the use of one or the other would
be beneficial. This would be of benefit then not only to educators
and entertainers, but also to the listeners and consumers.
Further, if a philosophical concept applied in another discipline has
implications within Music, it may inform a field of discussion and our
understanding of Music in general.
The research would thus comprise an overview of the term from
within its philosophical framework.

This would seek to expound

especially the more accepted viewpoints regarding the term - the

more

marginalised

views

would

probably

merely

cloud

the

application of the term within another discipline and would probably

be better suited to a more intensive study of a particular aspect of
the application of the term which would be beyond the scope of this
study.
The term itself has been defined and demarcated through the
deliberations

and

discussions

of

several

thinkers

and

the

juxtapositioning of these might inform the study significantly.

Further, a discussion of the use of the term within other disciplines
would most probably be most informative.

Its use, for instance,

within the Visual Arts might have a direct correlation from which to
position the use of the term within Music. Though the use of the

120918 Simulacrum - the rise of the copy

term has been far wider than just the Visual Arts and those
disciplines would need to be defined too.
Also a delineation of what comprises the original and the copy
within the discipline of Music would need to be defined - from the
listener to the performer and interpreter, from the analyst to the
composer... not to mention the work itself.
This would imply that live performances and recordings are
discussed:
- the way Music is presented and stored
- the difference in process between a live and studio recording and
how that impacts on the concept here mooted
- the means by which Music can be accessed by the listener
A further implication would be how the performer is affected:
- what material is used in preparation for a performance (scores,
recordings, &c)
- what material is used for a performance (scores, recordings, &c.)
- the differences in preparation for a live as opposed to a studio
performance
- is the studio performance still a performance
- the role of the Sound engineer / Producer
-

anachronistic

performances

reproducing

previous

(historic)

performances
- streaming live performances to audiences in other locations (is
there

difference

performances

between

compared

to

same
different

time

different

place

time

different

place

performances)
So too the influence on the composer or writer of Music would be
under scrutiny:
- composing with samples

120918 Simulacrum - the rise of the copy

- composing with digital tunings

Then there is the work itself:
- the score
- the live performance
- the recording
Finally, hopefully, all the strings would be possible to be drawn
together with the concept of the simulacrum being applied to Music.
It may draw from the original use of the term in other disciplines but
would benefit from an added richness and colour by having an
association forged with another discipline where it has not received
much attention.