Sound recording in pop art: differencing the «remake» and «remix» musical versions

D.V Kocherzhuk

doi:10.34064/khnum2-14.15

Abstract

Sound recording in pop art: differencing the «remake» and «remix» musical versions

Highlights

Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt2018 ■ Вип
The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios
The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version

Summary

Introduction

Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt2018 ■ Вип. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt. ХІV ■ Аспекти історичного музикознавства to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. It becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios

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Conclusion