Author(s): Aykut Barış ÇEREZCİOĞLU
The condition of the musical practices which were regarded and accepted as "the best, the most beautiful, the most accurate" by the members who form a specific 'we' collectivity and identify themselves with these musical practices contain the authenticity markers for the musical practice. Authenticity, in this manner, is the sum of the elements that make a specific music valuable. According to Moore (2002), the authenticity is not a feature of music but a 'thing' which were fer to in a performance. Therefore, Moore explains that the authenticity of the performance is associated with 'who weare', as 'we' are the people who refer. In the construction of authenticity, making the live performance the focal point is regarded interesting. Live performance serves as a representation, in otherwords as a prof for 'actually being able to play'. The emphasis shifts to 'the ability of musicians' in live performances. In this regard, live performance, in addition to being a marker of authenticity, emphasizes the distinctness of the musician as an 'artist' with skills. If musicianship already points out a condition based on skills for a specific instrument, voice (vocal), or a musical style, is a live demonstration/prof necessary for this skill? Or, since which historical moment does this need for demonstration/prof becomes a necessity? The aim of this study is trying to understand the components of the values referred to 'live performance' which became an important authenticity marker in most of the popular musical genres especially rock music through music recording and music technology.
The Journal of International Social Research received 8982 citations as per Google Scholar report
