Notas

^[1] Alan Lomax, Folk Song Style and Culture, Transaction Publishers, 1978. <<

^[2] Alex Ross, «Why So Serious?», The New Yorker, 8 de septiembre de 2008. <<

^[3] Gareth Huw Davies, «Bird Songs», en el programa de David Attenborough, The Life of Birds, PBS. www.pbs.org/lifeofbirds/songs/index.html <<

^[4] Eyal Shy, «The relation of geographical variation in song to habitat characteristics and body size in North American Tanagers», Behavioral Ecology and Sociobiology, vol. 12, n.º 1, pp. 71-76. <<

^[5] David Biello, «How City Noise Is Reshaping Birdsong», Scientific American, 22 de octubre de 2009. <<

^[6] David Rothenberg, Survival of the Beautiful: Art, Science and Evolution, Bloomsbury Press, 2011, p. 6. <<

^[7] Bijal P. Trivedy, «Was Maya Pyramid Designed to Chirp Like a Bird?», National Geographic, 6 de diciembre de 2002. <<

^[8] Ker Than, «Ancient Maya Temples Were Giant Loudspeakers?», National Geographic, 16 de diciembre de 2010. <<

^[1] Felix Post, «Creativity and psychopathology: A study of 291 world-famous men», The British Journal of Psychiatry (1994) 165, pp. 22-24. <<

^[1] Geoff Manaugh, «The Heleocentric Pantheon: An Interview with Walter Murch», BLDG Blog, abril de 2007, http://bIdgblog.blogspot.com/zoo7/04/ heliocentric-pantheon-interview-with.html. <<

^[2] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 13. <<

^[3] Greg Milner, Perfecting Sound Forever: An Aural History of Recorded Music, Faber & Faber, 2010, p. 14. <<

^[4] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 60. <<

^[5] John Philip Sousa, «The Menace of Mechanical Music», publicado originalmente en Appleton’s Magazine, vol. 8, 1906, p. 278, www.phonozoic.net/no155.htm. <<

^[6] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 17. <<

^[7] Greg Milner, Perfecting Sound Forever: An Aural History of Recorded Music, Faber & Faber, 2010, p. 60. <<

^[8] Caroline Neal, Si sos brujo: A Tango Story, Cinemateca, 2005, DVD. <<

^[9] Greg Milner, Perfecting Sound Forever: An Aural History of Recorded Music, Faber & Faber, 2010, p. 78. <<

^[10] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 74-75. <<

^[11] Emily Thompson, «Wiring the World: Acoustical Engineers and the Empire of Sound in the Motion Picture Industry, 1927-1930», en Hearing Cultures: Essays on Sound, Listening and Modernity, Veir Erlmann, ed., Berg Publishers, p. 198. <<

^[12] Ibídem, p. 201. <<

^[13] Ibídem, p. 202. <<

^[14] Glenn Gould, «The Prospects of Recording», en High Fidelity, vol. 16, n.° 4, abril de 1966, PP. 46-63. <<

^[15] Ibídem. <<

^[16] Hua Hsu, «Thanks for the Memorex», ArtForum, febrero de 2011. <<

^[17] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 12. <<

^[1] Greg Milner, Perfecting Sound Forever: An Aural History of Recorded Music, Faber & Faber, 2010, pp. 258-261. <<

^[2] Ibídem, p. 268. <<

^[3] Ibídem, pp. 207-208. <<

^[4] Michael Bull, «Thinking About Sound, Proximity, and Distance in Western Experience: The Case of Odysseus’s Walkman», en Hearing Cultures: Essays on Sound, Listening and Modernity, Veir Erlmann, ed., Berg Publishers, p. 174. <<

^[5] Ibídem, p. 176. <<

^[1] Glenn Gould, «The Prospects of Recording», en High Fidelity vol. 16, n.° 4, abril de 1966. <<

^[1] Tom Breihan, «N.A.S.A: The Spirit of Apollo», Pitchfork, 18 de febrero de 2009, www.pitchfork.com/reviews/albums/12686the-spirit-of-apollo. <<

^[1] Stephen Holden, «The Artistry Is Apparent, So Where’s the Audience?», The New York Times, 6 de febrero de 2011. <<

^[2] Ben Sisario, «Musical Survivor Hustles for a Second Chance», The New York Times, 8 de febrero de 2011.

* Las ventas citadas reflejan las cifras solo en Estados Unidos. De hecho, las ventas internacionales pueden «salvar» contratos de bandas. <<

^[3] «U2 Signs 12 Year Deal with Live Nation», Billboard, www.billboard.com/news/article_ display.jsp?vnu_content_id=1003782687#/ news/article_display.jsp?vnu_content_ id=1003782687. <<

^[4] Peter Kafka, «Live Nation’s $120 Million Bet: Breaking Down Madonna Deal», Business Insider, 10 de octubre de 2007, http:// articles.businessinsider.com/2007-10-10/ tech/30040 635_1_madonna-deal-livenation-material-girl. <<

^[5] John Tozzi, «Bandcamp Powers Online Sales, Aims to Fill Myspace “Vacuum”», Bloomberg, 1 de noviembre de 2011, www.bloomberg.com/news/2011-n-01/bandcamp-powersoniine-sales-aims-tofill-myspace-vacuum-.html. <<

^[6] Jeff John Roberts, «Spotify hits 6 million paid users as market for music streaming heats up», paidContent, 12 de marzo de 2013, http://paidcontent.org/2013/03/12/spotify-hits-6-million-paid-users-asmarket-for-music-streaming-heats-up. <<

^[7] Ben Sisario, «Eminem Lawsuit May Raise Pay for Older Artist», The New York Times, 27 de marzo de 2011, http://www.nytimes.com/2011/03/28/business/media/28eminem.html?pagewanted=all&_r=o. <<

^[8] «USC Annenberg Lab Ad Transparency Report, Fourth Edition», 8 de mayo de 2013. <<

^[1] Jerzy Grotowski, Toward a Poor Theater, Routledge, 2002, p. 255.<<

^[1] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 61. <<

^[2] John Carey, What Good Are the Arts?, Faber & Faber, 2005, pp. 34-36. <<

^[3] John Philip Sousa, «The Menace of Mechanical Music», publicado originalmente en Appleton’s Magazine, vol. 8, 1906. <<

^[4] Mark Katz, Capturing Sound: How Technology Has Changed Music, University of California Press, 2010, p. 70. <<

^[5] Colin Eatock, «What’s Wrong with Classical Music?», 3 Quarks Daily, 4 de octubre de 2010, www.3quarksdaily.com/3quarksdaily/2010/10/whats-wrongwith-classical-music.html. <<

^[6] Ibidem. <<

^[7] John Carey, What Good Are the Arts?, Faber & Faber, 2005, p. 11. <<

^[8] Ibidem, p. 97. <<

^[9] Ibidem, PP. 97-99. <<

^[10] Ibidem, p. 101. <<

^[11] Las cifras de asistencia de Blockbuster se pueden consultar aquí: http://blogs.artinfo.com/realcleararts/2011/08/08/wait-a-minute-further-thoughts-on-twoblockbuster-shows. <<

^[12] John Carey, What Good Are the Arts?, Faber & Faber, 2005, pp. 20-32. <<

^[13] Ibidem, p. 25. <<

^[14] Ibidem, p. 90. <<

^[15] Ibidem, p. 60. <<

^[16] Ibidem, p. 61. <<

^[17] William Hazlitt, Criticisms on Art, Nabu Press, 2011, p. 110. <<

^[18] Marjorie Garber, Patronizing the Arts, Princeton University Press, 2008, p. 52. <<

^[19] Ibidem, p. 54. <<

^[20] Paul Goldberger, «Design for Living», The New Yorker, 4 de abril de 2011. <<

^[21] John Carey, What Good Are the Arts?, pp. 132-133. <<

^[22] Greg Milner, Perfecting Sound Forever: An Aural History of Recorded Music, Faber & Faber, 2010, p. 119. <<

^[23] Daniel J. Wakin, «A Metropolitan Opera High Note, as Donations Hit $182 Million», The New York Times, so de octubre de 2011, www.nytimes.com/2011/10/11/arts/music/ metropolitan-operas-donations-hit-arecord-182-million.html?pagewanted=all. <<

^[24] Mike Boehm, «L.A. Opera’s “Ring” cycle may be in the red», Los Angeles Times, 29 de mayo de 2010, http://articles.latimes.com/2010/may/29/entertainment/la-etringtickets-20100529. <<

^[25] Daniel J. Wakin, «A Metropolitan Opera High Note, as Donations Hit $182 Million», The New York Times, 10 de octubre de 2011, www.nytimes.com/2011/.o/11/arts/music/metropolitanoperas-donations-hit-a-record-182million.html?pagewanted=all. <<

^[26] Daniel J. Wakin, «Reader Response: Orchestras Are Overextended», The New York Times, 22 de abril de 2011, http:// artsbeat.blogs.nytimes.com/2011/04/22/ reader-responseorchestras-are-overextended. <<

^[27] «Los galeones en el siglo XXI. El Roxy, un ejemplo de art deco tapatío», en Replicante, vol. 3, n.° 12, verano de 2007. <<

^[28] John Carey, What Good Are the Arts?, Faber & Faber, 2005, p. 40. <<

^[29] David Bornstein, «Beyond Baby Mozart: Students Who Rock», The New York Times, 8 de septiembre de 2011, http://opinionator.blogs.nytimes.com/2011/09/o8/beyondbabymozart-students-who-rock. <<

^[30] David Bornstein, «Rock Is Not the Enemy», The New York Times, 13 de septiembre de 2011, http://opinionator.blogs.nytimes.com/2011/09/13/rock-is-not-the-enemy. <<

^[31] Ed Vulliamy, «Strings Attached: What the Venezuelans Are Doing for British Kids», The Observer, 3 de octubre de 2010. <<

^[32] Ibidem. <<

^[33] Ibidem. <<

^[34] Steven J. Tepper & Georde D. Kuh, «Let’s Get Serious About Cultivating Creativity», The Chronicle of Higher Education, 4 de septiembre de 2011, www.chronicle.com/ article/Lets-Get-Serious-About/128843. <<

^[35] Oliver Sacks, Musicophilia: Tales of Music and the Brain, Knopf, 2007, p. 102. <<

^[36] John Carey, What Good Are the Arts?, Faber & Faber, 2005. <<

^[37] Sir Ken Robinson, «Transform Education? Yes, We Must», The Huffington Post, 11 de enero de 2009, www.huffingtonpost.com/sir-ken-robinson/transform-educationyesw_b_157014.html. <<

^[38] R. Murray Schafer, The Thinking Ear: Complete Writing on Music Education, Arcana Editions, 1986, pp. 246-248. <<

^[1] Robert Fink, Selected Essays and Readings: On the Origin of Music, Greenwich Publishing, 2003. <<

^[2] Manly P. Hall, The Secret Teachings of All Ages: An Encyclopedia Outlines of Masonic, Hermetic, Qabbalistic and Rosicrucian Symbolical Philosophy, Jeremy P Tarcher/ Penguin, 2003, p. 252. <<

^[3] Johannes Kepler, The Harmony of the World, American Philosophical Society, 1997, p. 440. <<

^[4] Geoff Manaugh, «The Heliocentric Pantheon: An Interview with Walter Murch», BLDG Blog, abril de 2007, http://bldgblog.blogspot.com/2007/04/ heliocentric-pantheoninterview-with.html. <<

^[5] Kitty Ferguson, The Music of Pythagoras: How an Ancient Brotherhood Cracked the Code of the Universe and Lit the Path from Antiquity to Outer Space, Walker Publishing Company, 2008, p. 239. <<

^[6] Douglas Kahn, «Ether Ore: Mining Vibrations in American Modernist Music», en Hearing Cultures: Essays on Sound, Listening and Culture, Veit Erlmann, ed., Berg Publishers, 2004, p. 127. <<

^[7] Ker Than, «In Search of Music’s Biological Roots», Duke Magazine, vol. 94, n.° 3, mayo/ junio de 2008, www.dukemagazine.duke. edu/issues/050608/musici.html. <<

^[8] Kerni MacDonald y Béatrice de Géa, «A Sonorous, Smiling City», The New York Times, 16 de marzo de 2011. <<

^[9] Matthew Shlomowitz, «Cage’s Place in the Reception of Satie», 1999, www.satiearchives.com/web/article8.html. <<

^[10] John Cage, «Experimental Music», declaración pronunciada como discurso en la convención de la Asociación Nacional de Profesores de Música en Chicago, en 1957, www.kim-cohen.com/ seth_texts/artmusictheorytexts/Cage%20 Experimental%20Music.pdf. <<

^[11] Outsider: John Rockwell on the Arts, 1967-2006, 2006, Limelight Editions, p. 210. <<

^[12] John Cage, «Experimental Music», declaración pronunciada como discurso en la convención de la Asociación Nacional de Profesores de Música en Chicago, en 1957, www.kim-cohen.com/ seth_texts/artmusictheorytexts/Cage%20 Experimental%20Music.pdf <<

^[*] Esta no es una situación nueva. Se podría argüir que una canción producida por Phil Spector durante su apogeo en los años sesenta es casi una canción diferente de la versión en la que él no intervino. Más recientemente, un tema con ritmos (pero sin palabras ni melodía) de Timbaland es identificable y a veces más pegadizo debido a su peculiar estilo con los sampleos. ¿Son entonces esos tipos automáticamente coescritores de los temas? Técnica y legalmente no, pero el productor exige crédito, o el artista, reconociendo el valor de la contribución del productor, se lo concede. <<