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The history of music, as well as of recording, has had many changes before the way it is conducted nowadays. It was particularly interesting in the era of changes, for instance, during the 1920s and 1930s. However, these years are marked not only by the “jazz era” and the “swing era,” which, according to researchers, “involved the reworking of African-American dance music in appealing to a white middle-class audience” (Starr et al., 2008, p. 9). It was also characterized by changes in a sound recording; the electric method replaced the acoustic one. This paper aims to compare and analyze two musical compositions – “Sugar” and “The Moten Swing” – that were recorded by means of different techniques. In order to eliminate any possible biases, two records will be taken from the same orchestra.
The first one is “Sugar,” which was recorded acoustically by the Bennie Moten Band in 1927. As for instrumental timbre, it is easy to hear trumpets and saxophones, which create the main emphasis on this composition. However, since this recording has undergone no digital cleaning, one can hear hisses, pops, crackle softened treble. In addition, the rhythm is quick-paced and catchy, which sets the energetic atmosphere and makes the listener want to dance to it. For instance, dancing waltzes and two steps seem fitting for this type of music. There are also frequently used riffs, which, according to researchers, in one of the main characteristics of this band’s style (Pilkington, 2020). As for the perception of the location, the quality makes it seem like it is heard from another room.
The second piece of music is “The Moten Swing,” recorded by the same players in 1932; however, it was done electrically. Since the first seconds, it is simple to catch on small changes in the quality of the recording. It is now easier to hear the piano along with the other instruments, and there are significantly fewer hisses and crack if none. As for location, it would seem obvious that the clearer sound makes an illusion as if one hears the orchestra from the same room. In addition, it is easier to distinguish the sounds of tuba, cornet, and trombone. The sound seems fuller, richer, more detailed, and balanced. It does not seem that any instruments were replaced in the latter versions since two pieces of music are of one genre.
All in all, the electric recording seems more sophisticated, its tune is also playful and joyful and makes the listener not only want to dance but also to come up with some lyrics and sing. This composition, in general, feels like a song because of its catchy pattern, which is easy to hum. However, as for tone colors, it does not seem like there is much difference in this sphere because both records have this cheerful mood to them.
In conclusion, it would appear that despite there being no core differences between the two musical compositions, there are some which divide one from another. Both pieces are lively, with a high pitch and an appealing pattern that are suitable for dancing or singing along. The electric method of recording, however, provides a fuller sound of high quality and a clearer recognition of instruments. Nevertheless, it does not mean that the acoustic recordings are worse in any way. In fact, it is easy to find some sort of charm even in scratches and hisses that could be heard in such recordings.
Reference
Pilkington, F. (2020). Revolutionary music: how Kansas City jazz and Los Angeles gangster rap redefined American art [Doctoral dissertation, Georgetown University].
Starr, L., Waterman, C. A., Clack, G., & Neely, M. S. (2008). American popular music. US Department of State, Bureau of International Information Programs.
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