Technology has become increasingly integrated into our daily lives, receiving a great deal of attention as an educational tool with the potential to enhance, or even transform, student learning. Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required for educators to become adaptive experts with music technology; to be instructional designers capable of creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Most books about music and technology are technocentric, organized around specific technologies. Technological understanding is important and necessary for teachers, but research into educators' use of technology with students indicates that knowledge of the technology alone is insufficient. While some books have described teaching strategies and attempted to align the use of technologies with broader goals (standards), none of them have offered a coherent view of the interconnectedness of musical content, pedagogy, and technology. Grounded in the research and best practice literature, Music Learning Today makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. Its essential premise is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes -creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students.

Movies have never been the same since MTV. While the classic symphonic film score promised direct insight into a character's mind, the expanded role of popular music has made more ambiguous the question of when, if ever, we are allowed to see or share a character's emotions. As a result, the potential for irony and ambiguity has multiplied exponentially, and characterization and narrative capacities have fragmented. At the most basic level, this new aesthetic has required filmgoers to renegotiate some of their most basic instinctual connections with the human voice and with any sense of a filmmaking self. Music videos widened the creative vocabulary of filmmaking: they increased speeds of event in cinema and deflecting filmmakers from narrative, characterization, and storytelling toward a concentration on situation, feeling, mood, and time. Popular Music and the New Auteur charts the impact of music videos on seven visionary directors: Martin Scorsese, Sofia Coppola, David Lynch, Wong Kar-Wai, the Coen brothers, Quentin Tarantino, and Wes Anderson. Ashby and his contributors define these filmmakers' relation to the soundtrack as their key authorial gesture. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against music rather than against script, and allowing pop songs a determining role in narrative and imagery. Featuring important new theoretical work by some of the most stimulating and provocative writers in the area today, Popular Music and the New Auteur will be required reading for all who study film music and sound. It will also be particularly relevant for readers in popular music studies, and its intervention in the ongoing debate on auteurism will make it necessary reading in film studies.

Refining Sound is a practical roadmap to the complexities of creating sounds on modern synthesizers. As author, veteran synthesizer instructor Brian K. Shepard draws on his years of experience in synthesizer pedagogy in order to peel back the often-mysterious layers of sound synthesis one-by-one. The result is a book which allows readers to familiarize themselves with each individual step in the synthesis process, in turn empowering them in their own creative or experimental work. The book follows the stages of synthesis in chronological progression, starting readers at the raw materials of sound creation and ultimately bringing them to the final "polishing" stage. Each chapter focuses on a particular aspect of the synthesis process, culminating in a last chapter that brings everything together as the reader creates his/her own complex sounds. Throughout the text, the material is supported by copious examples and illustrations as well as by audio files and synthesis demonstrations on a related companion website. Each chapter contains easily digestible guided projects (entitled "Your Turn" sections) that focus on the topics of the corresponding chapter. In addition to this, one complete project will be carried through each chapter of the book cumulatively, allowing the reader to follow - and build - a sound from start to finish. The final chapter includes several sound creation projects in which readers are given types of sound to create as well as some suggestions and tips, with final outcomes is left to readers' own creativity. Perhaps the most difficult aspect of learning to create sounds on a synthesizer is to understand exactly what each synthesizer component does independent of the synthesizer's numerous other components. Not only does this book thoroughly illustrate and explain these individual components, but it also offers numerous practical demonstrations and exercises that allow the reader to experiment with and understand these elements without the distraction of the other controls and modifiers. Refining Sound is essential for all electronic musicians from amateur to professional levels of accomplishment, students, teachers, libraries, and anyone interested in creating sounds on a synthesizer.

Beyond Sound: The College and Career Guide in Music Technology is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced and exciting world. It is an outstanding resource for college and high school students, high school career centers, university placement centers, and libraries. Beyond Sound reflects on major technological advancements in recent history and explains why now is the ideal time to start a music technology career. An in-depth consideration of music technology education looks at over 200 schools that offer Music Technology, Music Recording, Music Industry, and Music Business programs. Beyond Sound considers the differences between BM, BS, BA, and BFA degrees as well as Graduate School, Trade School, and Art school programs. The reader is given the tools to research and make informed decisions about where to go to pursue their own formal music technology education. Beyond Sound provides practical guidance on career preparation, including how to get a great internship, how to land that first job, and how to make connections and move up in the business. Music technology jobs in recording, live sound, television and film, digital media, video games, retail sales, and education are described in great depth and clarity. Successful professionals in each of these fields share their stories, experiences, advice, and suggestions in candid interviews that provide the reader with a rare glimpse inside the professional world of music technology. Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, his scholarly research of music technology programs, and his extensive network of music technology professionals to bring the reader an intimate and accurate view of the exciting world of music technology. With this book, the aspiring music technologist will be able to learn about, prepare for, and begin a successful career that goes far Beyond Sound.

Professional studio design is a specialized science, with more than a touch of "black magic" thrown in. Over the past few years, Sound on Sound magazine has made one trip each month to a reader's studio. These visits have demonstrated that it is fairly simple to make a huge improvement to an untreated project-studio room, without spending a fortune. However, they've also proven that beginners' attempts at DIY acoustic treatments often cause more problems than they solve. Utilizing knowledge from dozens of visits to readers' home and project studios, the SOS team imparts easy-to-understand, organized troubleshooting advice. Learn how to rid yourself of monitoring problems and get an accurate monitoring system, how to enhance the sound of your recording space, and how to perfect your instrumental and vocal recordings. Decrease the time you spend re-recording and mixing, simply by improving your room with advice from the guys who have seen it all when it comes to make-do small studios. Contains: A structured look at the problems that most often plague small studios, with individual studio case studies addressing each issue Real solutions that you can both afford and implement; no thousand-dollar investments or idealized studio designs that don't work with your space! Case studies that look at small studios' specific problems, with additional break-outs tips that address quick fixes to common problems

The Recording, Mixing, and Mastering Reference Handbook provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument. In six sections, lessons give a comprehensive introduction to microphone settings and techniques, audio processing and effects, controlling acoustics, and history lessons on songs recorded with a given technique. The second half of the handbook delves into background theory on microphones, EQ-filters, compressors, and acoustics to give the reader a general understanding of practical recording techniques before acquiring deeper comprehension of the tools and the recording processes. Throughout the chapters, lessons on recording methods gradually build complexity and detail to keep readers engaged and challenged. Whether a university student in an audio recording course, a novice audio engineer who needs to build technique, or a busy professional who requires a quick refresh on specific techniques, any reader will find an essential resource in The Recording, Mixing, and Mastering Reference Handbook.

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more.
This book will be of special value for everyone who teaches music at any level, from classroom instructors to ensemble directors to private studio instructors. Whether you want to create simple exercises for beginning performers or more complex programs for aspiring composers, this book will show you how to write customized software that can complement and even inspire your instructional objectives.
No specialist foreknowledge is required to use this book to enliven your experience with music technology. Even musicians with no prior programming skills can learn to supplement their lessons with interactive instructional tools, to develop adaptive instruments to aid in composition and performance activities, and to create measurement tools with which to conduct research.
This book allows you to:
-Learn how to design meaningful projects for composition, performance, music therapy, instruction, and research
-Understand powerful software through this accessible introduction, written for beginners
-Follow along through step-by-step tutorials
-Grasp the principles by downloading the extensive software examples from the companion website
This book is ideal for:
-Music educators at all levels looking to integrate software in instruction
-Musicians interested in how software can improve their practice and performance
-Music composers with an interest in designing interactive music
-Music therapists looking to tailor programs to the needs of specific groups or individuals
And all who are interested in music technology.
Visit the companion website at www.oup.com/us/maxmspjitter http: //www.oup.com/us/maxmspjitter

With Thomas Edison's invention of the phonograph, the beautiful music that was the preserve of the wealthy became a mass-produced consumer good, cheap enough to be available to all. In 1877 Edison dreamed that one day there would be a talking machine in every home. America on Record: A History of Recorded Sound, first published in 2006, provides a history of sound recording from the first thin sheet of tinfoil that was manipulated into retaining sound to the home recordings of rappers in the 1980s and the high-tech studios of the 1990s. This book examines the important technical developments of acoustic, electric, and digital sound reproduction while outlining the cultural impact of recorded music and movies. This second edition updates the story, describing the digital revolution of sound recording with the rise of computers, Napster, DVD, MP3, and iPod.

With Thomas Edison's invention of the phonograph, the beautiful music that was the preserve of the wealthy became a mass-produced consumer good, cheap enough to be available to all. In 1877 Edison dreamed that one day there would be a talking machine in every home. America on Record: A History of Recorded Sound, first published in 2006, provides a history of sound recording from the first thin sheet of tinfoil that was manipulated into retaining sound to the home recordings of rappers in the 1980s and the high-tech studios of the 1990s. This book examines the important technical developments of acoustic, electric, and digital sound reproduction while outlining the cultural impact of recorded music and movies. This second edition updates the story, describing the digital revolution of sound recording with the rise of computers, Napster, DVD, MP3, and iPod.

Phonopoetics tells the neglected story of early "talking records" and their significance for literature, from the 1877 invention of the phonograph to some of the first recorded performances of modernist works. The book challenges assumptions of much contemporary criticism by taking the recorded, oral performance as its primary object of analysis and by exploring the historically specific convergences between audio recording technologies, media formats, generic forms, and the institutions and practices surrounding the literary. Opening with an argument that the earliest spoken recordings were a mediated extension of Victorian reading and elocutionary culture, Jason Camlot explains the literary significance of these pre-tape era voice artifacts by analyzing early promotional fantasies about the phonograph as a new kind of speaker and detailing initiatives to deploy it as a pedagogical tool to heighten literary experience. Through historically-grounded interpretations of Dickens impersonators to recitations of Tennyson to T.S. Eliot's experimental readings of "The Waste Land" and of a great variety of voices and media in between, this first critical history of the earliest literary sound recordings offers an unusual perspective on the transition from the Victorian to modern periods and sheds new light on our own digitally mediated relationship to the past.

Music Technology and the Project Studio: Synthesis and Sampling provides clear explanations of synthesis and sampling techniques and how to use them effectively and creatively. Starting with analog-style synthesis as a basic model, this textbook explores in detail how messages from a MIDI controller or sequencer are used to control elements of a synthesizer to create rich, dynamic sound. Since samplers and sample players are also common in today s software, the book explores the details of sampling and the control of sampled instruments with MIDI messages.

This book is not limited to any specific software and is general enough to apply to many different software instruments. Overviews of sound and digital audio provide students with a set of common concepts used throughout the text, and "Technically Speaking" sidebars offer detailed explanations of advanced technical concepts, preparing students for future studies in sound synthesis.

Music Technology and the Project Studio: Synthesis and Sampling is an ideal follow-up to the author s An Introduction to Music Technology, although each book can be used independently.

The Companion Website includes:

• Audio examples demonstrating synthesis and sampling techniques
• Interactive software that allows the reader to experiment with various synthesis techniques
• Guides relating the material in the book to various software synthesizers and samplers
• Links to relevant resources, examples, and software

Audio recordings are the calling card with which musicians share and promote their work so a knowledge of recording techniques and technologies is essential to the 21st century musician. Recording On a Budget provides a comprehensive introduction to the recording arts from a budget-conscious perspective. Written by a professional musician and educator, this book is ideal for musicians, educators, music students, songwriters and hobbyists.
A central theme of the book is that it is possible to make quality recordings with a modest selection of recording tools. Chapters cover the selection and use of all of the components of a project studio including microphones, mixer, computer, digital audio workstation software, and signal processors. Additional chapters provide a solid foundation in acoustics, audio recording, podcasting, mixing and mastering. The final chapter of the book features do-it-yourself projects that can be completed with a modest selection of tools.
Most musicians have developed their ears to a high level so a special focus is placed on the development of recording technique through experimentation and the application of critical listening skills. The book is supported by an online resource of nearly 250 audio excerpts detailing all of the primary topics of the book.
Recording on a Budget is ideal for:

. Musicians who are interested in recording a quality CD or demo
. Choir, orchestra, and band directors who want to record vocal or instrumental ensemble
. Student performers and composers who wish to record a performance or produce their own music
. Bands interested in recording live concerts or recording an album in a home studio
. Videographers interested in recording location sound, voice-overs or music
. Songwriters who wish to produce a quality demo
. Podcasters
and ALL who want to make quality recordings without spending fortunes on equipment.
Readers will learn
. to cut budget corners without sacrificing audio quality
. to choose the right microphone for the job (and where to place it)
. to assemble an equipment rack, mixing desk, and speakers stand
. to avoid common mistakes
. And to be creative and have fun with recording technology
Visit the companion website at www.oup.com/us/recordingonabudget for free selection of sample recordings "

Special Sound traces the fascinating creation and legacy of the BBC's electronic music studio, the Radiophonic Workshop, in the context of other studios in Europe and America. The BBC built a studio to provide its own avant-garde dramatic productions with experimental sounds "neither music nor sound effect." Quickly, however, a popular kind of electronic music emerged in the form of quirky jingles, signature tunes such as Doctor Who, and incidental music for hundreds of programs. These influential sounds and styles, heard by millions of listeners over decades of operation on television and radio, have served as a primary inspiration for the use of electronic instruments in popular music.
Using in-depth research in the studio's archives and papers, this book tells the history of the many engineers, composers, directors, and producers behind the studio to trace the shifting perception towards electronic music in Britain. Combining historical discussion of the people and instruments in the workshop with analysis of specific works, Louis Niebur creates a new model for understanding how the Radiophonic Workshop fits into the larger history of electronic music.

Whether you have a ton of equipment or just the basic gear this book offers an all you need to know to setting up, running and getting great sound from a project studio. In three parts Harris walks you thought Acoustics, Equipment and Recording Technique. From the basics of acoustic treatment to techniques to solve problems specific to your room, and from offering explanations and information of equipment to how to record and create a great mix. In no time you'll be recording, producing great music in your very own studio.
* Provides information on how to make the right decisions when buying and installing equipment, learn how to set up a quality studio
* Covers recording technique, teaches how to make high quality mixes
* Covers acoustics and studio design, understand acoustics without going down the road of becoming a professional acoustician

In this comprehensive guide, Brixen takes the reader through the complex and confusing aspects of audio metering, imparting the knowledge and skills needed to utilize optional signal levels and produce high-quality audio. Covering all aspects of this fundamental subject, Audio Metering: Measurements, Standards and Practice begins with the basics, such as audio definitions and digital techniques, and works up to more complex topics like hearing and psychoacoustics. This revised and expanded third edition includes: Updated information on loudness metering, covering both existing and new standards. Definitions of terms such as LKFS, LUFS, gating, LRA. Explanations of signal types and musical sounds and structures. Further details on immersive audio. Skills needed for both small-room acoustics and large auditorium sound design without loss of sound quality. Descriptions of measurement signals and systems for audio and acoustic sound. A chapter on listening tests from small set-ups to large-scale comparisons of PA/SR-systems. Packed full of valuable information with a wide range of practical applications, this is the essential reference guide to audio metering for technicians, engineers, and tonmeisters, as well as sound designers working with acoustics, electroacoustics, broadcast, studio recording, sound art, archiving, audio forensics, and theatrical and live-audio setups.

Until recently, early recordings were regarded as little more than old-fashioned curiosities. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performances of Elgar, Rachmaninoff, Stravinsky, and other composers, and of the musicians with whom they worked. In a more general way, recordings reveal the detailed performance practice of the early twentieth century and illustrate how styles have changed over the years. Early recordings also shed new light on nineteenth-century performance, but at the same time they highlight the limitations of our attempts to recreate the styles of the period before the development of recording. In this fascinating and detailed study, Robert Philip argues that recordings of the early twentieth century provide an important, and hitherto neglected, resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century: rhythm, including flexibility of tempo, rubato, and the treatment of rhythmic detail; the use of vibrato; and the employment of portamento by stringplayers. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past. The book contains information tables, music examples, and a discography and will be of interest to scholars and students of music history and performance practice as well as to musicians and collectors of historical recordings.

When the first edition of "The Desktop Studio" appeared five years ago, computers were in the process of taking over the recording business. That job is now complete - not only in the way music is recorded, but in the way it's written, distributed, and heard. Today, new software instruments, amp simulators, and effects stand alongside the ever evolving recording software that changed recorded music forever, while faster and smaller hardware continues to redefine the size, portability, and creative potential of the 'recording' studio. This revised edition of "The Desktop Studio" will help you wade through all of the tools available in clear, concise, and musician-friendly language. Now, more than ever before, your computer can be a recorder, mixer, editor, video production system, musical instrument, and even a gateway to your audience. "The Desktop Studio" will help you get the most out of your computer and turn it - and you - into a creative powerhouse. Fully illustrated, this title offers comprehensive look at software and hardware, and provides expert tips for getting the most out of your music computer. Highlights of this title are as mentioned below. It presents an expanded look at software instruments and samplers, with tips to help you manage all that content. It helps in mastering real-time pitch and tempo stretching. It is a comprehensive guide to effects, including guitar amp simulators. It offers: a new section devoted to laptop users; a new section on integrating hand-held recorders, iPods, and other portables into your studio; a tutorial on basic video editing; a special section for beginners, including tips for getting the whole family making music; new tips for distributing music via online tools like MySpace, iTunes, and more; and, a look at the latest gear - and a look ahead to what may be coming in the future.

From Demo to Delivery: The Process of Production discusses each stage of the typical music production process from start to finish. Beginning with the creation and development of the composition and song production, the book then traces the process from the recording, mixing and mastering stages through to marketing and distribution. This book is a must read for anyone who wants to learn the pro techniques involved in creating music from start to finish. Packed with essential information, including signposts to other sources of information at the end of each chapter, From Demo to Delivery provides a map for musicians, semi-pro and aspiring producers, engineers and music professionals interested in learning how music makes it from the an idea to the page to the studio to a demo and into the hands of the market and beyond.
Check out the book's website - http: //demo2delivery.com/
*A start to finish guide of the production process, to understand and be in control of recordings
*Contributing authors are experts in their field, readers can learn and get insight from the best
*Accompanying website with audio examples, aid understanding being able to hear what is being discussed

Frank Zappa was an unremitting musical innovator and experimenter always looking for ways to exploit the latest advances in technology. His working life coincided with the explosive development of music technology that ran from the 1960s through the following three decades. Without such inventions as the Marshall amplifier the Gibson SG the wah-wah pedal and the Synclavier-much of it modified to his requirements and used in ways for which they had never been designed-Zappa's air sculptures as his music has been described would have had a significantly different shape and texture. Lavishly illustrated-including over 180 unique photographs of Frank Zappa's guitars and equipment taken by the author at his UMRK studio in LA and featuring a foreword by Dweezil Zappa-Zappa's Gear offers an unprecedented inside look at the machinery behind the legendary music. In addition to a detailed presentation of the equipment Zappa's Gear also introduces some of the pioneering inventors, engineers and entrepreneurs without whom the instruments would not exist. Zappa's Gear is an official Frank Zappa book produced and written with the full cooperation and endorsement of Gail Zappa and the Zappa Family Trust.

From the Fairlight CMI through MIDI to the digital audio workstations at the turn of the millennium, Modern Records, Maverick Methods examines a critical period in commercial popular music record production: the transformative digital age from the late 1970s until 2000. Drawing on a discography of more than 300 recordings across pop, rock, hip hop, dance and alternative musics from artists such as the Beastie Boys, Madonna, U2 and Fatboy Slim, and extensive and exclusive ethnographic work with many world-renowned recordists, Modern Records presents a fresh and insightful new perspective on one of the most significant eras in commercial music record production. The book traces the development of significant music technologies through the 1980s and 1990s, revealing how changing attitudes and innovative techniques of recording personnel reimagined recording processes and, finally, exemplifies the impact of these technologies and techniques via six comprehensive tech-processual analyses. This meticulously researched and timely book reveals the complexity of recordists' responses to a technological landscape in flux.

The Music Business and Recording Industry is a comprehensive music business textbook focused on the three income streams in the music industry: music publishing, live entertainment, and recordings. The book provides a sound foundation for understanding key issues, while presenting the latest research in the field. It covers the changes in the industry brought about by the digital age, such as changing methods of distributing and accessing music and new approaches in marketing with the Internet and mobile applications. New developments in copyright law are also examined, along with the global and regional differences in the music business.

Every session, every gig, every day, recording engineers strive to make the most of their audio signal processing devices. EQ, Compression, Delay, Distortion, Reverb and all those other FX are the well-worn tools of the audio trade. Recording and mixing, live and in the studio, engineers must thoroughly master these devices to stay competitive sonically. Its not enough to just know what each effect is supposed to do. Sound FX explains the basic and advanced signal processing techniques used in professional music production, describing real world techniques used by experienced engineers, and referencing popular music examples released internationally. The reader learns not just how to, but also what if, so they can better achieve what they already hear in the productions they admire and chase what they only hear in their imaginative minds ear. Sound FX will immediately help you make more thorough, more musical use of your sound FX.
The accompanying website www.soundfx-companion.com includes audio exaples of FX featured in the book.
Features:
A chapter dedicated to each key effect:
Distortion
Compression & Limiting
Expansion & Gating
Reverb
Equalization
Delay
Pitch Shift
Volume
More than 100 line drawings and illustrations.
Accompanying website featuring examples of all FX covered in the book.
Discography of FX at the end of each relevant chapter.
From the Sound FX Intro:
The most important music of our time is recorded music. The recording studio is its principle musical instrument. The recording engineers and music producers who create the music we love know how to use signal processing equipment to capture the work of artists, preserving realism or altering things wildly, as appropriate. While the talented, persistent, self-taught engineer can create sound recordings of artistic merit, more productive use of the studio is achieved through study, experience and collaboration. This book defines the technical basis of the most important signal processing effects used in the modern recording studio, highlights the key drivers of sound quality associated with each, shares common production techniques used by recording engineers with significant experience in the field, references many of the touchstone recordings of our time, and equips the reader with the knowledge needed to comfortably use effects devices correctly, and, more importantly, to apply these tools creatively.
* Mixing and Recording, studio and live -- for everyone who uses signal processing in audio.
* Defines the technical basis of the most important signal processing effects used in the modern recording studio
* Highlights the key drivers of sound quality associated with each
* Equips the reader with the knowledge needed to comfortably use effects devices correctly, and, more importantly, to apply these tools creatively

By the late 1960s, popular British prog-rock outfit Pink Floyd were experiencing a creative voltage drop, so they turned to composer Ron Geesin for help in writing their next album.The Flaming Cow offers a rare insight into the brilliant but often fraught collaboration between the band and Geesin, the result of which became known as Atom Heart Mother - the title track from the Floyd's first UK number one album. From the time drummer Nick Mason visited Geesin's damp basement flat in Notting Hill, to the last game of golf between bassist Roger Waters and Geesin, this book is an unflinching account about how one of Pink Floyd's most celebrated compositions came to life. Alongside unpublished photographs from the Abbey Road recording sessions (the only ones taken) and the subsequent performances in London and Paris, Geesin goes on to describe how the title was chosen, why he was not credited on the record, how he left Hyde Park in tears, and why the group did not much like the work. The Flaming Cow rose again, firstly in France, then in London in 2008. After 40 years Atom Heart Mother remains a much-loved record, and The Flaming Cow explores its new-found cult status that has led to it being studied for the French Baccalaureat.

Since the turn of the century, the impact of digital technologies on the promotion, production and distribution of music in the Philippines has both enabled and necessitated an increase in independent musical practices. In the first in-depth investigation into the independent music scene in the Philippines, Monika E. Schoop exposes and portrays the as yet unexplored restructurings of the Philippine music industries, showing that digital technologies have played an ambivalent role in these developments. While they have given rise to new levels of piracy, they have also offered unprecedented opportunities for artists. The near collapse of the transnational recording industry in the Philippines stands in stark contrast to a thriving independent music scene in the county's national capital region, Metro Manila, which cuts across musical genres and whose members successfully adjust to a rapidly evolving industry scenario. Independent practices have been facilitated by increased access to broadband Internet, the popularity of social media platforms and home recording technology. At the same time, changing music industry structures often leave artists with no other option but to operate independently. Based on extensive fieldwork online and offline, the book explores the diverse and innovative music production, distribution, promotion and financing strategies that have become constitutive of the independent music scene in twenty-first-century Manila.

Have records, compact discs, and other sound reproduction equipment merely provided American listeners with pleasant diversions, or have more important historical and cultural influences flowed through them? Do recording machines simply capture what's already out there, or is the music somehow transformed in the dual process of documentation and dissemination? How would our lives be different without these machines? Such are the questions that arise when we stop taking for granted the phenomenon of recorded music and the phonograph itself.
Now comes an in-depth cultural history of the phonograph in the United States from 1890 to 1945. William Howland Kenney offers a full account of what he calls "the 78 r.p.m. era"--from the formative early decades in which the giants of the record industry reigned supreme in the absence of radio, to the postwar proliferation of independent labels, disk jockeys, and changes in popular taste and opinion. By examining the interplay between recorded music and the key social, political, and economic forces in America during the phonograph's rise and fall as the dominant medium of popular recorded sound, he addresses such vital issues as the place of multiculturalism in the phonograph's history, the roles of women as record-player listeners and performers, the belated commercial legitimacy of rhythm-and-blues recordings, the "hit record" phenomenon in the wake of the Great Depression, the origins of the rock-and-roll revolution, and the shifting place of popular recorded music in America's personal and cultural memories.
Throughout the book, Kenney argues that the phonograph and the recording industry served neither to impose a preference for high culture nor a degraded popular taste, but rather expressed a diverse set of sensibilities in which various sorts of people found a new kind of pleasure. To this end, Recorded Music in American Life effectively illustrates how recorded music provided the focus for active recorded sound cultures, in which listeners shared what they heard, and expressed crucial dimensions of their private lives, by way of their involvement with records and record-players.
Students and scholars of American music, culture, commerce, and history--as well as fans and collectors interested in this phase of our rich artistic past--will find a great deal of thorough research and fresh scholarship to enjoy in these pages.