No Oil, Just Auto-Tune ! (notice n° 522613)

détails MARC
000 -LEADER
fixed length control field 01451cam a2200169 4500500
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250121100459.0
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title fre
042 ## - AUTHENTICATION CODE
Authentication code dc
100 10 - MAIN ENTRY--PERSONAL NAME
Personal name Creton, Caroline
Relator term author
245 00 - TITLE STATEMENT
Title No Oil, Just Auto-Tune !
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Date of publication, distribution, etc. 2021.<br/>
500 ## - GENERAL NOTE
General note 65
520 ## - SUMMARY, ETC.
Summary, etc. Cher, T-Pain, Saez, Châton, Booba, Benjamin Biolay, Bon Iver, Yung Beef, Lady Gaga, Neil Young, and PNL: these artists share a common practice — the use of Auto-Tune, a software that permits the adjustment or correction of the voice after its recording or performance. If initially Auto-Tune was used to correct the pitch, it now is also used to produce sound modulations that give a robotic, artificial, non-linear character to the human voice. The first recording to use Auto-Tune was Cher’s “Believe” in 1998: a direct hit. Since then, if some artists — like Jay-Z and its record D.O.A. for “Death of the Auto-Tune” (2009) — criticize the practice, Auto-Tune has conquered the music industry and is said to be used in most of the musical productions of today (Reynolds 2019) regardless of their aesthetic leanings. In spite of this broad circulation, there are few academic papers tackling its implications. What is at stake in Auto-Tune?
700 10 - ADDED ENTRY--PERSONAL NAME
Personal name Bellanger, Julien
Relator term author
786 0# - DATA SOURCE ENTRY
Note Multitudes | o 82 | 1 | 2021-04-14 | p. 84-90 | 0292-0107
856 41 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier <a href="https://shs.cairn.info/journal-multitudes-2021-1-page-84?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-multitudes-2021-1-page-84?lang=en&redirect-ssocas=7080</a>

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