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The history of music production / / Richard James Burgess
| The history of music production / / Richard James Burgess |
| Autore | Burgess Richard James |
| Pubbl/distr/stampa | New York : , : Oxford University Press, , 2014 |
| Descrizione fisica | 1 online resource (265 p.) |
| Disciplina | 781.4909 |
| Soggetto topico |
Sound recording industry - History
Sound recordings - Production and direction - History Sound - Recording and reproducing - History Sound recordings - History Music and technology |
| ISBN |
0-19-938501-7
0-19-935718-8 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
4 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 Electric 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 The 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 15 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 Performance Royalties |
| Record Nr. | UNINA-9910786554203321 |
Burgess Richard James
|
||
| New York : , : Oxford University Press, , 2014 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The history of music production / / Richard James Burgess
| The history of music production / / Richard James Burgess |
| Autore | Burgess Richard James |
| Pubbl/distr/stampa | New York : , : Oxford University Press, , 2014 |
| Descrizione fisica | 1 online resource (265 p.) |
| Disciplina | 781.4909 |
| Soggetto topico |
Sound recording industry - History
Sound recordings - Production and direction - History Sound - Recording and reproducing - History Sound recordings - History Music and technology |
| ISBN |
0-19-938501-7
0-19-935718-8 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; 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
4 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 Electric 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 The 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 15 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 Performance Royalties |
| Record Nr. | UNINA-9910818227603321 |
|
Burgess Richard James
|
||
| New York : , : Oxford University Press, , 2014 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||