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In Working Musicians Timothy D. Taylor offers a behind-the-scenes
look at the labor of the mostly unknown composers, music editors,
orchestrators, recording engineers, and other workers involved in
producing music for films, television, and video games. Drawing on
dozens of interviews with music workers in Los Angeles, Taylor
explores the nature of their work and how they understand their
roles in the entertainment business. Taylor traces how these
cultural laborers have adapted to and cope with the conditions of
neoliberalism as, over the last decade, their working conditions
have become increasingly precarious. Digital technologies have
accelerated production timelines and changed how content is
delivered while new pay schemes have emerged that have transformed
composers from artists into managers and paymasters. Taylor
demonstrates that as bureaucratization and commercialization affect
every aspect of media, the composers, musicians, music editors,
engineers, and others whose soundtracks excite, inspire, and touch
millions face the same structural economic challenges that have
transformed American society, concentrating wealth and power in
fewer and fewer hands.
Clearly technology has added a "voice" to music, but how does that voice affect the traditional human craftsmanship of music? In other words, can the music created still be called one's own? In Strange Sounds, Timothy Taylor addresses the anxieties provoked by technology's role in music composition since World War II. In this accessible and comprehensive study, Taylor discusses the nature of technology, its use in making music, and the inevitable fears of losing one's agency further with the new digital technologies being developed. From the early tape music of France and the "space age pop" of 1950s America to the numerous electronic dance music genres of today that detour into "illegal" activities like those argued in lawsuits over the sampling of traditional folk music, and the trance club scenes in cities like New York and London that have become synonymous with the drug ecstasy, technology has irrevocably penetrated the production and consumption of contemporary music.
In Working Musicians Timothy D. Taylor offers a behind-the-scenes
look at the labor of the mostly unknown composers, music editors,
orchestrators, recording engineers, and other workers involved in
producing music for films, television, and video games. Drawing on
dozens of interviews with music workers in Los Angeles, Taylor
explores the nature of their work and how they understand their
roles in the entertainment business. Taylor traces how these
cultural laborers have adapted to and cope with the conditions of
neoliberalism as, over the last decade, their working conditions
have become increasingly precarious. Digital technologies have
accelerated production timelines and changed how content is
delivered while new pay schemes have emerged that have transformed
composers from artists into managers and paymasters. Taylor
demonstrates that as bureaucratization and commercialization affect
every aspect of media, the composers, musicians, music editors,
engineers, and others whose soundtracks excite, inspire, and touch
millions face the same structural economic challenges that have
transformed American society, concentrating wealth and power in
fewer and fewer hands.
From the Tibetan Buddhist and Native American influences in the music of Pauline Oliveros to the arresting blend of Jamaican dancehall, rap, and bhangra of Apache Indian, this groundbreaking work examines the rise of 'world music' and 'world beat.' Musicologist Timothy Taylor draws on a wide variety of sources, from popular culture, interviews, liner notes, the Internet and the music itself, charting a path through the issues surrounding contemporary world music. Included in this volume are detailed discussions of such musicians as the Kronos Quartet, Ladysmith Black Mambazo, Youssou N'Dour, Peter Gabriel, Johnny Clegg, Angelique Kidjo, Sheila Chandra, Apache Indian, Zap Mama and a host of others. Exloring the dynamics behind such collaborations as Paul Simon and Ladysmith Black Mambazo, Taylor addresses the effects that these collaborations have on the music itself with particular emphasis on musical authenticity and the expectations around it. In addition to looking at the ways western pop/rock appropriates music from other cultures, he also demonstrates how cross-cultural collaborations bring music and musicians from other cultures to a much wider audience. Global Pop offers a fascinating and timely survey of popular music and its impact on contemporary culture along with our ways of looking at and living in the world.
Clearly technology has added a "voice" to music, but how does that voice affect the traditional human craftsmanship of music? In other words, can the music created still be called one's own? In Strange Sounds, Timothy Taylor addresses the anxieties provoked by technology's role in music composition since World War II. In this accessible and comprehensive study, Taylor discusses the nature of technology, its use in making music, and the inevitable fears of losing one's agency further with the new digital technologies being developed. From the early tape music of France and the "space age pop" of 1950s America to the numerous electronic dance music genres of today that detour into "illegal" activities like those argued in lawsuits over the sampling of traditional folk music, and the trance club scenes in cities like New York and London that have become synonymous with the drug ecstasy, technology has irrevocably penetrated the production and consumption of contemporary music.
From the early days of radio through the rise of television after
World War II to the present, music has been used more and more to
sell goods and establish brand identities. And since the 1920s,
songs originally written for commercials have become popular songs,
and songs written for a popular audience have become irrevocably
associated with specific brands and products. Today, musicians move
flexibly between the music and advertising worlds, while the line
between commercial messages and popular music has become
increasingly blurred. Timothy D. Taylor tracks the use of music in
American advertising for nearly a century, from variety shows like
The Clicquot Club Eskimos to the rise of the jingle, the postwar
upsurge in consumerism, and the more complete fusion of popular
music and consumption in the 1980s and after. The Sounds of
Capitalism is the first book to tell truly the history of music
used in advertising in the United States and is an original
contribution to this little-studied part of our cultural history.
In music studies, Timothy D. Taylor is known for his insightful
essays on music, globalization, and capitalism. Music and the World
is a collection of some of Taylor's most recent writings essays
concerned with questions about music in capitalist cultures,
covering a historical span that begins in the late nineteenth and
early twentieth centuries and continues to the present. These
essays look at shifts in the production, dissemination,
advertising, and consumption of music from the industrial
capitalism of the nineteenth century to the globalized neoliberal
capitalism of the past few decades. In addition to chapters on
music, capitalism, and globalization, Music and the World includes
previously unpublished essays on the continuing utility of the
culture of concept in the study of music, a historicization of
treatments of affect, and an essay on value and music. Taken
together, Taylor's essays chart the changes in different kinds of
music in twentieth- and twenty-first-century music and culture from
a variety of theoretical perspectives.
iTunes. Spotify. Pandora. With these brief words one can map the
landscape of music today, but these aren't musicians, songs, or
anything else actually musical-they are products and brands. In
this book, Timothy D. Taylor explores just how pervasively
capitalism has shaped music over the last few decades. Examining
changes in the production, distribution, and consumption of music,
he offers an incisive critique of the music industry's shift in
focus from creativity to profits, as well as stories of those who
are laboring to find and make musical meaning in the shadows of the
mainstream cultural industries. Taylor explores everything from the
branding of musicians to the globalization of music to the
emergence of digital technologies in music production and
consumption. Drawing on interviews with industry insiders,
musicians, and indie label workers, he traces both the constricting
forces of bottom-line economics and the revolutionary emergence of
the affordable home studio, the global internet, and the mp3 that
have shaped music in different ways. A sophisticated analysis of
how music is made, repurposed, advertised, sold, pirated, and
consumed, Music and Capitalism is a must read for anyone who cares
about what they are listening to, how, and why.
From the early days of radio through the rise of television after
World War II to the present, music has been used more and more
often to sell goods and establish brand identities. And since at
least the 1920s, songs originally written for commercials have
become popular songs, and songs written for a popular audience have
become irrevocably associated with specific brands and products.
Today, musicians move flexibly between the music and advertising
worlds, while the line between commercial messages and popular
music has become increasingly blurred. "The Sounds of Capitalism"
is the untold story of this infectious part of our musical culture.
Here, Timothy D. Taylor tracks the use of music in American
advertising for nearly a century, from variety shows like "The
Clicquot Club Eskimos" to the rise of the jingle, from the postwar
growth of consumerism, to the more complete fusion of popular music
and consumption in the 1980s and after. Taylor contends that today
there is no longer a meaningful distinction to be made between
music in advertising and advertising music. To make his case, he
draws on rare archival materials, the extensive trade press, and
hours of interviews with musicians ranging from Barry Manilow to
unknown but unforgettable jingle singers. "The Sounds of
Capitalism" is the first book to truly tell the history of music
used in advertising in the United States, and an original
contribution to this little-studied part of our cultural history.
In Beyond Exoticism, Timothy D. Taylor considers how western
cultures' understandings of racial, ethnic, and cultural
differences have been incorporated into music from early operas to
contemporary television advertisements, arguing that the commonly
used term "exoticism" glosses over such differences in many studies
of western music. Beyond Exoticism encompasses a range of musical
genres and musicians, including Mozart, Beethoven, Jean-Philippe
Rameau, Maurice Ravel, Charles Ives, Henry Cowell, Bally Sagoo, and
Bill Laswell as well as opera, symphony, country music, and "world
music." Yet, more than anything else, it is an argument for
expanding the purview of musicology to take into account not only
composers' lives and the formal properties of the music they
produce but also the larger historical and cultural forces shaping
both music and our understanding of it. Beginning with a focus on
musical manifestations of colonialism and imperialism, Taylor
discusses how the "discovery" of the New World and the development
of an understanding of self as distinct from the other, of "here"
as different from "there," was implicated in the development of
tonality, a musical system which effectively creates centers and
margins. He describes how musical practices signifying nonwestern
peoples entered the western European musical vocabulary and how
Darwinian thought shaped the cultural conditions of
early-twentieth-century music. In the era of globalization, new
communication technologies and the explosion of marketing and
consumption have accelerated the production and circulation of
tropes of otherness. Considering western music produced under
rubrics including multiculturalism, collaboration, hybridity, and
world music, Taylor scrutinizes contemporary representations of
difference. He argues that musical interpretations of the
nonwestern other developed hundreds of years ago have not
necessarily been discarded; rather they have been recycled and
retooled.
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