Article:

Mikrophon und Habitus. Überlegungen zum Mikrophongebrauch in der klassischen Musikaufnahme

There is still no theory of music production in the field of classical music in which design principles have been worked out and a scientific basis for their technical implementation and discursive negotiation between the actors involved has been laid. This essay is an attempt to provide a first stake into the ground on such a theory, whereby I will limit myself to considerations on the use of microphones in sound recording. In doing so, I start from the assumption that sound recording can be understood as a discursive space, even as a network of discourses. These discourses converge on the one hand in the people acting on stage and backstage, and on the other hand in the objects used, i.e. the microphones. In order to trace the subjective modes of perception and the assignment of meaning of the acting actors in relation to the use of microphones, they and their socio-cultural environment will be examined by means of an artefact analysis.