Change of field in Gould's pianism

Progress in music recording technology has influenced a change in artistic work and its reception. In this sense, performing, composing and listening represent the reverse side of social, historical, economic and political reality. Reflecting on the artistic practices of a producer/artist, which emerged from Pierre Bourdieu's theory of artistic production, this paper analyses the concepts of field, capital and habitus. An emphasis is given to the presentation of a shift in the practice of the artist Glenn Gould, more precisely to the change of field in his pianism, from live performance to production work. This shift has created a recording as an artistic product which, in reference to Bourdieu's theory, is set as an intentional sign whose artistic existence is conditioned by scientific approach and analysis. As such, the recording implies recognition of the author's signature, more precisely his artistic and social context, which is viewed as a system of comprehensible relationships.