LEADER 00931cam0-2200313---450- 001 990009831890403321 005 20150119121549.0 010 $a978-88-498-3316-4 035 $a000983189 035 $aFED01000983189 035 $a(Aleph)000983189FED01 035 $a000983189 100 $a20140304d2011----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $ay-------001yy 200 1 $aAlla ricerca della sovranità$ePersona Chiesa e Stato nel pensiero di Luigi Sturzo$fLuigi Barbieri 210 $aSoveria Mannelli$cRubbettino$d2011 215 $a246 p.$d21 cm 610 0 $aSturzo, Luigi$aConcezione dello stato 676 $a320.1092$v22$zita 700 1$aBarbieri,$bLuigi$f<1954- >$0189569 801 0$aIT$bUNINA$gREICAT$2UNIMARC 901 $aBK 912 $a990009831890403321 952 $aII C 93$b50681$fFSPBC 959 $aFSPBC 996 $aAlla ricerca della sovranità$9836519 997 $aUNINA LEADER 05425nam 2200637 450 001 9910786554203321 005 20200520144314.0 010 $a0-19-938501-7 010 $a0-19-935718-8 035 $a(CKB)3710000000117388 035 $a(EBL)1696420 035 $a(MiAaPQ)EBC1696420 035 $a(Au-PeEL)EBL1696420 035 $a(CaPaEBR)ebr10875334 035 $a(CaONFJC)MIL613568 035 $a(OCoLC)880827192 035 $a(EXLCZ)993710000000117388 100 $a20140606h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe history of music production /$fRichard James Burgess 210 1$aNew York :$cOxford University Press,$d2014. 210 4$d2014 215 $a1 online resource (265 p.) 300 $aDescription based upon print version of record. 311 $a0-19-935717-X 320 $aIncludes bibliographical references and index. 327 $aCover; The History of Music Production; Copyright; Dedication; CONTENTS; List of Illustrations; Preface; Introduction; 1 Beginnings; Understanding Sound; Toward Recording; The Phonograph; The First Producers; 2 The Acoustic Period; Acoustic Recording; International Expansion; The Third Major Label; The Sooys; Documentation of Cultural Expression; The End of an Era; 3 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 327 $a4 Economic and Societal OverlayCyclical Decline; One Thing after Another: The Thirties through the War; Recovery; 5 The Studio Is Interactive; Toward Greater Control; Magnetic Tape Recording; Defining Some Terms; Mastering; Editing; Sound on Sound; Overdubbing; Summing up Tape's Impact; The Microgroove LP; 6 The Post-World War II Reconstruction of the Recording Industry; After the War; The Boom in Independent Labels; The Fifties; Radio DJs; 7 Mobile Music; More Music for More People; Music Anywhere: Radio on the Move; My Music on the Move; My Music Anywhere; 8 Expanding the Palette 327 $aElectric Instruments and AmplifiersSynthesizers; Genre Hybridization; 9 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; 10 The Sixties and Seventies; Cultural and Creative Revolution; The Sixties; Mix Automation; The Seventies; 11 Toward the Digital Age; Digital Recording; Hip Hop; The State of the Eighties 327 $aThe Sound of the EightiesThe 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; 12 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; 13 Periods of Standards and Stability; Proprietary versus Open Systems; Standards; 14 Deconstructing the Studio; Democratizing Technologies; Improvised Environments; When Is a Home Not a Home?; Freedom 327 $a15 Random Access Recording TechnologyWhy 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; 16 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 327 $aPerformance Royalties 330 $aIn The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess arg 606 $aSound recording industry$xHistory 606 $aSound recordings$xProduction and direction$xHistory 606 $aSound$xRecording and reproducing$xHistory 606 $aSound recordings$xHistory 606 $aMusic and technology 615 0$aSound recording industry$xHistory. 615 0$aSound recordings$xProduction and direction$xHistory. 615 0$aSound$xRecording and reproducing$xHistory. 615 0$aSound recordings$xHistory. 615 0$aMusic and technology. 676 $a781.4909 700 $aBurgess$b Richard James$01492258 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786554203321 996 $aThe history of music production$93714640 997 $aUNINA