By Katherine Bergeron
Bergeron follows the technological improvement of the Gregorian recovery over a seventy-year interval because it handed from the personal performances of a monastic choir into the general public commodities of revealed books, photos, and Gramophone documents. She discusses such concerns as architectural recovery, the trendy background of typography, the uncanny strength of the photographic photo, and the authority of recorded sound. She additionally exhibits the level to which various media formed the trendy snapshot of the traditional repertory, a picture that gave upward thrust to conflicting notions not just of musical functionality yet of the very suggestion of song history.
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