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E-grāmata: History of Music Production

3.75/5 (21 ratings by Goodreads)
(Director of Marketing and Sales, Smithsonian Folkways Recordings, Edgewater, MD)
  • Formāts: 208 pages
  • Izdošanas datums: 25-Jun-2014
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199357185
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  • Formāts: 208 pages
  • Izdošanas datums: 25-Jun-2014
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780199357185
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Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre.

Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.

Recenzijas

Indispensable for lovers of music who are fascinated by the history of how musical recordings are made. Burgess has wrapped engaging stories around impressive research. * Steve Savage, author of The Art of Digital Audio Recording and Mixing and Mastering in the Box * This important work brings new perspectives to the history of recorded music and shows how new technologies have been applied artfully and creatively by the many talented artisans of the craft in ways that changed how music is understood. * Mike Howlett, Associate Professor at Queensland University of Technology and Grammy award-winning producer *

List of Illustrations
xi
Preface xiii
Introduction 1(1)
1 Beginnings
2(14)
Understanding Sound
2(1)
Toward Recording
3(2)
The Phonograph
5(7)
The First Producers
12(4)
2 The Acoustic Period
16(13)
Acoustic Recording
16(2)
International Expansion
18(1)
The Third Major Label
19(1)
The Sooys
20(4)
Documentation of Cultural Expression
24(2)
The End of an Era
26(3)
3 The Electric Period
29(9)
Toward Electric Recording
29(1)
Better Sound
30(2)
Country Music
32(1)
Further Technological Foundations
33(1)
The Calm before the Storm
34(1)
The Thirties and Forties
34(2)
Radio, Film, and Tape Innovations
36(2)
4 Economic and Societal Overlay
38(4)
Cyclical Decline
38(1)
One Thing after Another: The Thirties through the War
39(1)
Recovery
40(2)
5 The Studio Is Interactive
42(14)
Toward Greater Control
42(2)
Magnetic Tape Recording
44(4)
Defining Some Terms
48(1)
Masterine
49(1)
Editing
49(1)
Sound on Sound
50(2)
Overdubbing
52(2)
Summing up Tape's Impact
54(1)
The Microgroove LP
54(2)
6 The Post-World War II Reconstruction of the Recording Industry
56(10)
After the War
56(2)
The Boom in Independent Labels
58(3)
The Fifties
61(3)
Radio DJs
64(2)
7 Mobile Music
66(7)
More Music for More People
66(1)
Music Anywhere: Radio on the Move
67(2)
My Music on the Move
69(1)
My Music Anywhere
70(3)
8 Expanding the Palette
73(9)
Electric Instruments and Amplifiers
73(3)
Synthesizers
76(5)
Genre Hybridization
81(1)
9 Some Key Producers
82(16)
The Objective
82(1)
Review of Early Producers
83(1)
Mitch Miller
83(1)
Leiber and Stoller
84(1)
Phil Spector
85(2)
Sam Phillips
87(1)
Steve Sholes
87(1)
Norrie Paramor
88(1)
Joe Meek
89(1)
Brian Wilson
90(1)
George Martin
91(1)
Holland, Dozier, and Holland
92(1)
Teo Macero
92(1)
King Tubby
93(1)
Prince
93(1)
Rick Rubin
94(1)
Quincy Jones
95(1)
Robert John "Mutt" Lange
96(1)
Dr. Dre
96(1)
Max Martin
97(1)
10 The Sixties and Seventies
98(6)
Cultural and Creative Revolution
98(1)
The Sixties
98(2)
Mix Automation
100(2)
The Seventies
102(2)
11 Toward the Digital Age
104(16)
Digital Recording
104(1)
Hip Hop
105(1)
The State of the Eighties
106(1)
The Sound of the Eighties
107(1)
The Look of the Eighties
108(1)
Shiny Silver Discs
109(2)
Singles
111(1)
Mixing
111(1)
Dance Music
112(3)
Remixes
115(1)
Further Eighties Developments
116(2)
Mergers and Acquisitions
118(1)
The Internet and the World Wide Web
119(1)
12 The Nineties
120(7)
The Corporate State
120(1)
The Charts and SoundScan
120(1)
Alternative Rock
121(1)
Toward Music Online
121(1)
Progress with Digitized Data
122(1)
Digital Radio
123(2)
Millennials
125(1)
Preparing the Way for Napster
125(2)
13 Periods of Standards and Stability
127(4)
Proprietary versus Open Systems
127(1)
Standards
127(4)
14 Deconstructing the Studio
131(3)
Democratizing Technologies
131(1)
Improvised Environments
131(1)
When Is a Home Not a Home?
132(1)
Freedom
132(2)
15 Random Access Recording Technology
134(13)
Why Random Access?
134(2)
The Beginnings of Random Access for Producers
136(5)
Drum Machines, Next Generation Sequencers, and MIDI
141(2)
The Beginnings of Random Access Digital Recording
143(2)
Convergence and Integration
145(2)
16 Transformative/Disruptive Technologies and the Value of Music
147(12)
Definitions of Terms
147(1)
The Industry at the Turn of the 21st Century
147(1)
Missed Opportunity
148(1)
Oh, Wait
149(1)
No Big Surprises
150(1)
What a Great Idea
151(1)
What Happened to Vertical Integration?
151(1)
An Idea Whose Time Had Come
152(1)
Denial and Inaction
153(1)
The Consequences
154(1)
The Digital Disruption and Producer Income
155(1)
Performance Royalties
155(2)
Direct versus Statutory Licenses
157(2)
17 Post-Millennial Business Models
159(8)
American Idol
159(1)
Downloads
160(2)
Streaming Audio
162(1)
Non-Interactive Streams
163(1)
Streaming on Demand
164(1)
Web 2.0, Social Networking, and Social Media
164(1)
Commonalities
165(2)
18 The Unfinished Work
167(10)
Sampling, Mash-ups, and Remixes
167(1)
Using Records as Raw Material
167(2)
Disco
169(1)
Hip Hop
169(2)
Adapting Compositions
171(1)
Adapting Recordings
171(2)
The Question of Creativity
173(1)
The Question of Legality
174(3)
Conclusion 177(4)
Notes 181(28)
Bibliography 209(18)
About the Author 227(2)
Index 229
Richard James Burgess is Director of Marketing and Sales for Smithsonian Folkways Recordings and author of The Art of Music Production, Fourth Edition (OUP 2013). He also runs his own artist management company, Burgess Worldco. Prior to coming to Smithsonian Folkways, Burgess managed major label artists with top ten chart hits and international touring schedules, including Spandau Ballet, King, Colonel Abrams, Five Star, Living In A Box, Shriekback, and New Edition.