This book uncovers how music experience-live and recorded-is changing along with the use of digital technology in the 2000s. Focussing on the Nordic region, this volume utilizes the theory of mentalization: the capacity to perceive and interpret what others are thinking and feeling, and applies it to the analysis of mediated forms of agency in popular music. The rise of new media in music production has enabled sound recording and processing to occur more rapidly and in more places, including the live concert stage. Digital technology has also introduced new distribution and consumption technologies that allow record listening to be more closely linked to the live music experience. The use of digital technology has therefore facilitated an expanding range of activities and experiences with music. Here, Yngvar Kjus addresses a topic that has a truly global reach that is of interest to scholars of musicology, media studies and technology studies.

Historic RCA Studio B, Home of 1,000 Hits, is a landmark with a legacy built by some of the most important producers and artists in country and pop music. During a golden window, from 1957 to 1977, approximately 18,000 sessions were recorded within its walls, including more than 200 songs by Elvis Presley. The many hits spread Nashville s reputation as Music City worldwide. Generously illustrated with rare photos from the museum s archives, this book traces the story of RCA Studio B from its birth through the city s striking musical evolution, to its existence today as both working studio and tourist attraction and celebrates a magical, bygone era.

This is an introduction to basic music technology, including acoustics for sound production and analysis, Fourier, frequency modulation, wavelets, and physical modeling and a classification of musical instruments and sound spaces for tuning and counterpoint. The acoustical theory is applied to its implementation in analogue and digital technology, including a detailed discussion of Fast Fourier Transform and MP3 compression. Beyond acoustics, the book discusses important symbolic sound event representation and software as typically realized by MIDI and denotator formalisms. The concluding chapters deal with globalization of music on the Internet, referring to iTunes, Spotify and similar environments. The book will be valuable for students of music, music informatics, and sound engineering.