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thanks to all of those who have helped. I must admit, it was the Recording
Angel that first inspired me to write about music collecting - particularly
the passage about Clarence - i have since interviewed a man almost as
interesting as him - possessing 15,000 records, but owning no turntable,
playing them only at a friend's...
anyway, further to my last mailing...
just what is it that constitutes a 'collector'? - the amount of items,
the genre of music, categorization...?
in an age where portable MP3 Jukeboxes will carry up to 1,200 CD
equivalents by 2005 - possibly all downloaded from the Internet (either
paid for or poached in some way); where CD burners and mini-disc
players/recorders allow those with only the minimal knowledge of music to
effectively copy and then possess the 'collection' of someone else; where
'originality' is merely a term for re-appropriating (see bastardizing)
records of old in the market place; and where a 'pure' collector finds a
much valued track, acquired with much effort, now remixed and released on a
compilation album - is the nature of collecting music bound to change?
naturally the market has a major influence on what music enthusiasts [is
this different to collectors?] can acquire. is collecting perhaps a way of
resisting this? Norman Lebrecht's book 'When the music stops' has been of
great interest in the area of classical music and its alleged demise - due
also in part to the role that critics play. A music collection without
doubt becomes an extension of the self. When items that have been fought
over and tears shed for find themselves re-hashed by the latest star, or
used as a backing track to the latest cough syrup or car - is the
value/aura of those items diminished or heightened?
one last question - does a collection, as an entire entity, provide space
for collectors to 'produce'?