![]() ![]() In particular, then, the question that forms the basis of this article is that of how specific recordings can contribute to the perceived authorship of a song. In popular music forms, however, the recording is precisely the dominant object that circulates, and the specifics of the recorded interpretation come to form the basis of the song as it circulates. It is understood that a classical work circulates in printed form, with its composer's name on the score, for consumption, interpretation, and recording by individuals and integrated groups. ![]() ![]() The significant point of intervention here may be the mode of circulation of the piece in question. What is significant, however, is that the author in music operates very differently according to the kind of music being discussed: it is Beethoven's symphony, but Elvis's 'Jailhouse Rock', and jazz standards are another question altogether. we evaluate a musical recording or concert as the output of a single individual or integrated group" (1999, 200). Will Straw has usefully outlined and explored many of the prevailing issues surrounding 'the author' as a figure in popular music, summarising, "Typically. The notion of authorship in popular music is a complex one, and one that deserves continuing attention. This point seems to illustrate well the potential intensity of association between an artist and a song, in spite of any prior or subsequent history, and it is this particular relationship that I want to explore here. Certainly the last two of these are indelibly associated with Richard and Karen, and this speaks loudly of the extent to which recordings allow a song to be linked with a performance. ![]() Songs on the album that fall into this category include 'Calling Occupants of Interplanetary Craft' (first released by Canadian group KLAATU on 3:47 EST, also known as KLAATU, (1976)), 'We've Only Just Begun' (originally sung by Paul Williams for a television commercial), and 'Close To You' (first recorded by Richard Chamberlain in 1963). Intriguingly, though, a number of the songs on the album were not written or first recorded by the Carpenters, although they have since become most associated with the pair. The album presents a variety of musical styles, in which the characteristically smooth timbres and intimate harmonies of Karen and Richard - emergent on Offering (1969 re-released as Ticket to Ride), exemplified in 'Intermission' on A Song For You (1972), and saturating their work by Now And Then (1973) - are sometimes imitated, but more often replaced by other variations of sonic nuance, both instrumental and vocal. The 1994 tribute album If I Were a Carpenter features a host of Carpenters-wannabes covering the most famous of the sibling duo's tunes. The town itself will have its own set of events and elements to interact with.You're Not Really T/here: Authorship, Nostalgia & the Absent 'Superstar' Freya Jarman-Ivens Lecturer in Music, University of Liverpool, England Unlike some other survival games, there will be a home town or city to return to and rest and prepare for your next mission. As in real life, where a hard week’s work is rewarded by a relaxing or refreshing weekend, we wanted to create a world and provide elements within it where you can return back to town (or your home) after an adventurous mission to regather and reequip – a definite environmental contrast. Players also have the ability to upgrade their transportation (alongside their weapons and armor) as the game progresses.Ĭompared to some other games of this genre in the past, the game focuses more on ordinary everyday life. Although an overall map is available, players cannot “fast forward” their travel to these locations instead, they must take direct control of their transportation during the journey and respond to events that occur on the way. The game takes places across multiple locations with differing environmental conditions, including desert, snow, forest, mountains, swampland, and deep-sea diving. ![]()
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