The word “musical” refers to an art form or genre, and not to an actual musical performance.
But the term does refer to the process by which a piece of music is produced, as opposed to its sound or the overall composition of a piece.
So when you hear the word, you are actually referring to a recording of the musical piece, said Emily Fonberg, the associate director of the Art Museum of Minnesota.
That can be quite a bit different from when you’re talking about the actual performance of the piece.
The way people think about music today is different than it was 50 years ago, she said.
Fonburg said her research indicates that there is a misconception that musicals were “made” or “performed” in a studio.
While there are certainly some records that are produced, they are often recorded at home.
Fong said it’s not as simple as saying the record was made at home, but rather, the recording was made on a studio soundstage or soundstage with an engineer and an assistant, as well as other people, listening to the recording.
If that’s the case, the artist, not the artist himself, is the one creating the music, she explained.
But while there is plenty of evidence to support that assumption, Fonburn added that some artists have made claims to the contrary.
She pointed to the work of George Gershwin and Irving Berlin, who have both said they did not create music, but that they recorded it.
Fongs research found that in the 1970s and 1980s, there were multiple instances where music was produced at home and recorded in a soundstage.
And Fong’s research indicates there were more than two dozen recordings in the Art Department Museum of Minneapolis of music performed at home or in studio, including works by David Bowie, Prince, Pink Floyd, and Paul Simon.
FONBURG said she thinks the Art Deco Revival movement started by artists like John Cage and the Fats Dominoes in the 1920s and ’30s was a major influence on the art world.
Fons work also indicates that in some cases, artists were actually paid to produce music and record it.
She also pointed out that the term “musicians” was often used to describe artists who recorded their own music or who played at home in a private studio.
Fontes research also indicated that artists had their own studio space, but not a recording studio.
The Art Decos did not invent the concept of home recording studios, said Fonbur.
Fontbur said the Art Institute of Chicago did a study on how people think of music studios, and found that people tend to think of recording studios as being places where musicians are recorded and produced.
They said they found that it was often the musician that recorded their performance and that there was no expectation of compensation.
Foonberg said her study also found that a small number of artists did record their own recordings, but they tended to be very limited in their ability to record a large number of tracks.
Founts research shows that artists have been using a lot of technology to record their performances, including digital recording, but it’s important to remember that many of these recordings were made in private homes, Fontens research found.
Fonais research also found there was little or no recording in private art museums or museums of fine art, except in the case of art deco.
Fonders research found little or nothing recording in public art galleries.
Fonda’s research found an increase in the number of public art installations recording live music in the United States over the past two decades, and Fonda said the increase is most likely related to the fact that more and more artists are recording their music live on the internet, rather than recording it in studios.
FONDERS research also showed that the number and quality of recorded recordings are changing.
It found that there were approximately 3.4 million recordings in 2009, down from 4.1 million recorded in 2008.
But Fonda noted that the data for 2009 does not include live performances that are being recorded.
The decline in recording numbers in 2009 was not related to increased use of recording technology or the popularity of streaming services such as Spotify, Fonda reported.
Fonds research also suggested that while recordings may not be recorded on the Internet, they may be recorded at a local studio, such as a record shop or music store.
Fondo said her findings suggest that the increasing number of recordings of live music is the result of people making recordings of their own, which is different from the recording of music recorded by an artist.
She said the trend toward recording live performances may be more important for the Art and Music department than ever.
FOULGIS: There is evidence that recording artists can earn substantial money from the public domain, including music.
Foulis is the associate curator for the Museum of the Moving Image at the National Gallery of Art.
He has done research