Abstract
This article shows the value of a sound-centered and technology-focused approach for the study of live music. Starting from the actual Woodstock festival site in 1969 to the online broadcast of the entire archival recordings of that festival 50 years later, it traces sound technology across time and space from analogue audio infrastructure and recording media to digital audio media and mass distribution infrastructure. In doing so, we provide clear examples that place sound mediation at the heart of all live music practices. Finally, we closely consider the aforementioned broadcast to describe some of the new possibilities of the staging of liveness that is afforded by the Internet.
| Translated title of the contribution | Mediating Woodstock: Sound Technology and the Staging of Liveness |
|---|---|
| Original language | French |
| Pages (from-to) | 133-149 |
| Number of pages | 17 |
| Journal | Communiquer |
| Issue number | 35 |
| DOIs | |
| Publication status | Published - 2022 |