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Books > Arts & Architecture > Music > Music recording & reproduction
Now in its fourth edition, The Art of Music Production has
established itself as the definitive guide to the art and business
of music production and a primary teaching tool for college
programs. It is the first book to comprehensively analyze and
describe the non-technical role of the music producer. Author
Richard James Burgess lays out the complex field of music
production by defining the several distinct roles that fall under
the rubric of music producer. In this completely updated and
revised fourth edition of a book already lauded as "the most
comprehensive guide to record production ever published," Burgess
has expanded and refined the types of producers, bringing them
fully up to date. The first part of the book outlines the
underlying theory of the art of music production. The second part
focuses on the practical aspects of the job including training,
getting into the business, day-to-day responsibilities, potential
earnings, managers, lawyers, and - most importantly - the musical,
financial, and interpersonal relationships producers have with
artists and their labels. The book is packed with insights from the
most successful music producers ranging from today's chart-toppers
to the beginnings of recorded sound, including mainstream and many
niche genres. The book also features many revealing anecdotes about
the business, including the stars and the challenges (from daily to
career-related) a producer faces. Burgess addresses the changes in
the nature of music production that have been brought about by
technology and, in particular, the paradigmatic millennial shift
that has occurred with digital recording and distribution.
Burgess's lifelong experience in the recording industry as a studio
musician, artist, producer, manager, and marketer combined with his
extensive academic research in the field brings a unique breadth
and depth of understanding to the topic.
The Bloomsbury Handbook of Music Production provides a detailed
overview of current research on the production of mono and stereo
recorded music. The handbook consists of 33 chapters, each written
by leaders in the field of music production. Examining the
technologies and places of music production as well the broad range
of practices - organization, recording, desktop production,
post-production and distribution - this edited collection looks at
production as it has developed around the world. In addition,
rather than isolating issues such as gender, race and sexuality in
separate chapters, these points are threaded throughout the entire
text.
"MP3: The Meaning of a Format" recounts the hundred-year history of
the world's most common format for recorded audio. Understanding
the historical meaning of the MP3 format entails rethinking the
place of digital technologies in the larger universe of
twentieth-century communication history, from hearing research
conducted by the telephone industry in the 1910s, through the
mid-century development of perceptual coding (the technology
underlying the MP3), to the format's promiscuous social life since
the mid 1990s.
MP3s are products of compression, a process that removes sounds
unlikely to be heard from recordings. Although media history is
often characterized as a progression toward greater definition,
fidelity, and truthfulness, "MP3: The Meaning of a Format"
illuminates the crucial role of compression in the development of
modern media and sound culture. Taking the history of compression
as his point of departure, Jonathan Sterne investigates the
relationships among sound, silence, sense, and noise; the commodity
status of recorded sound and the economic role of piracy; and the
importance of standards in the governance of our emerging media
culture. He demonstrates that formats, standards, and
infrastructures--and the need for content to fit inside them--are
every bit as central to communication as the boxes we call
"media."
In Chasing Sound, Susan Schmidt Horning traces the cultural and
technological evolution of recording studios in the United States
from the first practical devices to the modern multi-track studios
of the analog era. Charting the technical development of studio
equipment, the professionalization of recording engineers, and the
growing collaboration between artists and technicians, she shows
how the earliest efforts to capture the sound of live performances
eventually resulted in a trend toward studio creations that
extended beyond live shows, ultimately reversing the historic
relationship between live and recorded sound. Schmidt Horning draws
from a wealth of original oral interviews with major labels and
independent recording engineers, producers, arrangers, and
musicians, as well as memoirs, technical journals, popular
accounts, and sound recordings. Recording engineers and producers,
she finds, influenced technological and musical change as they
sought to improve the sound of records. By investigating the
complex relationship between sound engineering and popular music,
she reveals the increasing reliance on technological intervention
in the creation as well as in the reception of music. The recording
studio, she argues, is at the center of musical culture in the
twentieth century.
Today, jazz is considered high art, America's national music, and
the catalog of its recordings-its discography-is often taken for
granted. But behind jazz discography is a fraught and highly
colorful history of research, fanaticism, and the simple desire to
know who played what, where, and when. This history gets its first
full-length treatment in Bruce D. Epperson's More Important Than
the Music. Following the dedicated few who sought to keep jazz's
legacy organized, Epperson tells a fascinating story of archival
pursuit in the face of negligence and deception, a tale that saw
curses and threats regularly employed, with fisticuffs and lawsuits
only slightly rarer. Epperson examines recorded jazz from its
careless handling as a novelty in the 1920s and '30s, through the
deluge of 12-inch vinyl in the middle of the twentieth century, to
the use of computers by today's discographers. Though he focuses
much of his attention on comprehensive discographies, he also
examines the development of a variety of related listings, such as
buyer's guides and library catalogs, and he closes with a look
toward discography's future. From the little black book to the
full-featured online database, More Important Than the Music offers
a history not just of jazz discography but of the profoundly human
desire to preserve history itself.
What 'live music' means for one generation or culture does not
necessarily mean 'live' for another. This book examines how changes
in economy, culture and technology pertaining to post-digital times
affect production, performance and reception of live music.
Considering established examples of live music, such as music
festivals, alongside practices influenced by developments in
technology, including live streaming and holograms, the book
examines whether new forms stand the test of 'live authenticity'
for their audiences. It also speculates how live music might
develop in the future, its relationship to recorded music and
mediated performance and how business is conducted in the popular
music industry.
In this book, Barbara Ellison and Thomas B. W. Bailey lay out and
explore the mystifying and evanescent musical territory of 'sonic
phantoms': auditory illusions within the musical material that
convey a 'phantasmatic' presence. Structured around a large body of
compositional work developed by Ellison over the past decade, sonic
phantoms are revealed and illustrated as they arise through a
diverse array of musical sources, materials, techniques, and
compositional tools: voices (real and synthetic), field recordings,
instrument manipulation, object amplification, improvisation, and
recording studio techniques. Somehow inherent in all music--and
perhaps in all sound--sonic phantoms lurk and stalk with the
promise of mystery and elevation. We just need to conjure them.
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