An edition of The history of music production
(2014)
The history of music production
by Richard James Burgess
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1
History of Music Production
2014, Oxford University Press, Incorporated
in English
0199357188 9780199357185
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2
History of Music Production
2014, Oxford University Press, Incorporated
in English
130682317X 9781306823173
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Book Details
Table of Contents
Beginnings. Understanding sound ; Toward recording ; The phonograph ; The first producers
The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era
The electric period. Toward electric recording ; Better sound ; Country music ; Further technological foundations ; The calm before the storm ; The thirties and forties ; Radio, film, and tape innovations
Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery
The studio is interactive. Toward greater control ; Magnetic tape recording ; Defining some terms ; Mastering ; Editing ; Sound on sound ; Overdubbing ; Summing up of tape's impact ; The microgroove LP
The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs
Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere
Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization
Some key producers. The objective ; Review of early producers ; Mitch Miller ; Leiber and Stoller ; Phil Spector ; Sam Phillips ; Steve Sholes ; Norrie Paramor ; Joe Meek ; Brian Wilson ; George Martin ; Holland, Dozier and Holland ; Teo Macero ; King Tubby ; Prince ; Rick Rubin ; Quincy Jones ; Robert John "Mutt" Lange ; Dr Dre ; Max Martin
The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies
Toward the digital age. Digital recording ; Hip hop ; The state of the eighties ; The sound of the eighties ; The look of the eighties ; Shiny silver discs ; Singles ; Mixing ; Dance music ; Remixes ; Further eighties developments ; Mergers and acquisitions ; The Internet and the World Wide Web
The nineties. The corporate state ; The charts and SoundScan ; Alternative rock ; Toward music online ; Progress with digitized data ; Digital radio ; Millennials ; Preparing the way for Napster
Periods of standards and stability. Proprietary versus open systems ; Standards
Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom
Random access recording technology. Why random access? ; The beginnings of random access for producers ; Drum machines, next generation sequencers, and MIDI ; The beginnings of random access digital recording ; Convergence and integration
Transformative/disruptive technologies and the value of music. Definitions of terms ; The industry at the turn of the 21st century ; Missed opportunity ; Oh wait ; No big surprises ; What a great idea ; What happened to vertical integration? ; An idea whose time had come ; Denial and inaction ; The consequences ; The digital disruption and producer income ; Performance royalties ; Direct versus statutory licenses
Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities
The unfinished work. Sampling, mash-ups and remixes ; Using records as raw material ; Disco ; Hip hop ; Adapting compositions ; Adapting recordings ; The question of creativity ; The question of legality.
Edition Notes
Includes bibliographical references (pages 209-226) and index.
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- Created July 18, 2019
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| June 3, 2023 | Edited by ImportBot | import existing book |
| December 22, 2022 | Edited by MARC Bot | import existing book |
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| August 4, 2022 | Edited by ImportBot | import existing book |
| July 18, 2019 | Created by MARC Bot | Imported from marc_openlibraries_sanfranciscopubliclibrary MARC record |