![]() ![]() Reading Theodor Adorno on the implications of the Princeton Radio Project and what he, together with Max Horkheimer, described as the 'Culture Industry' raises the phenomenological question of the techno-mechanical transmission of music with specific reference to Adorno's *The Current of Music.* A reading of Nietzsche who attempts for his own part to raise the question of the beginnings, in 770 BC, of what is the earliest system for the technical reproduction of sound, i.e., the Greek invention of ‘truly phonetic writing,’ articulates the spirit of music at the heart of Nietzsche’s book, *The Birth of Tragedy.* These are the three parts. Reflection on the 'effect' in question calls for a reflection on the object medium of media itself, especially on the ‘web’ and the corresponding means or medium of access: on one’s computer, mobile phone, tablet, etc. ![]() ![]() The effect of the ‘Hallelujah effect’ corresponds to the specific mediation of music in the age of digital, broadcast media, i.e., music reproduced technologically in recordings of all kinds and via a variety of media: on radio, on television, online, especially YouTube, shared on Facebook, Twitter, personal and news blogs, etc. “The Hallelujah Effect: Archaeology of a Harmony in Three Parts.” In: Bryan Carr and Richard Dumbrill, eds., *Music and Deep Memory: Speculations in Ancient Mathematics, Tunings, and Tradition. ![]()
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