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In 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 argues that while technology has defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry come from producers. The result is a deeply knowledgeable book that sketches a critical path in the evolution of the field, and analyzes the impact that recording and disseminative technologies have had on music production. A key and handy reference book for students and scholars alike, it stands as an ideal companion to Burgess's noted, multi-edition book The Art of Music Production.
In 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 argues that while technology has defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry come from producers. The result is a deeply knowledgeable book that sketches a critical path in the evolution of the field, and analyzes the impact that recording and disseminative technologies have had on music production. A key and handy reference book for students and scholars alike, it stands as an ideal companion to Burgess's noted, multi-edition book The Art of Music Production.
Über den Autor
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.
Inhaltsverzeichnis
- CONTENTS
- PREFACE
- INTRODUCTION
- CHAPTER ONE
- Beginnings:
- Understanding Sound
- Toward Recording
- The Phonograph
- The First Producers
- CHAPTER TWO
- The acoustic period:
- Acoustic Recording
- International Expansion
- The Third Major Label
- The Sooys
- Documentation of Cultural Expression
- The End of an Era
- CHAPTER THREE
- 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
- CHAPTER FOUR
- Economic and Societal Overlay:
- Cyclical Decline
- One Thing after Another: The Thirties through the War
- Recovery
- CHAPTER FIVE
- 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
- CHAPTER SIX
- The Post World War II Reconstruction of the Recording Industry
- After the War
- The Boom in Independent Labels
- The Fifties
- Radio DJs
- CHAPTER SEVEN
- Mobile Music
- More Music for More People
- Music Anywhere: Radio on the Move
- My Music on the Move
- My Music Anywhere
- CHAPTER EIGHT
- Expanding the Palette
- Electric Instruments and Amplifiers
- Synthesizers
- Genre Hybridization
- CHAPTER NINE
- 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
- CHAPTER TEN
- The Sixties and Seventies
- Cultural and Creative Revolution
- The Sixties
- Mix Automation
- The Seventies
- CHAPTER ELEVEN
- 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
- CHAPTER TWELVE
- 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
- CHAPTER THIRTEEN
- Periods of standards and stability
- Proprietary versus Open Systems
- Standards
- CHAPTER FOURTEEN
- Deconstructing the Studio
- Democratizing Technologies
- Improvised Environments
- When is a Home not a Home?
- Freedom
- CHAPTER FIFTEEN
- 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
- CHAPTER SIXTEEN
- 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
- CHAPTER SEVENTEEN
- Post-Millennial Business Models
- American Idol
- Downloads
- Streaming Audio
- Non interactive streams
- Streaming on demand
- Web 2.0, Social Networking and Social Media
- Commonalities
- CHAPTER EIGHTEEN
- 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
- CONCLUSION
- ABOUT THE AUTHOR
Details
| Erscheinungsjahr: | 2014 |
|---|---|
| Genre: | Musik |
| Rubrik: | Kunst & Musik |
| Medium: | Taschenbuch |
| Inhalt: | Buch |
| ISBN-13: | 9780199357178 |
| ISBN-10: | 019935717X |
| Sprache: | Englisch |
| Ausstattung / Beilage: | Paperback |
| Einband: | Kartoniert / Broschiert |
| Autor: | Burgess, Richard James |
| Komponist: | Richard James Burgess |
| Hersteller: | Oxford University Press |
| Maße: | 234 x 156 x 16 mm |
| Von/Mit: | Richard James Burgess |
| Erscheinungsdatum: | 01.07.2014 |
| Gewicht: | 0,451 kg |
Über den Autor
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.
Inhaltsverzeichnis
- CONTENTS
- PREFACE
- INTRODUCTION
- CHAPTER ONE
- Beginnings:
- Understanding Sound
- Toward Recording
- The Phonograph
- The First Producers
- CHAPTER TWO
- The acoustic period:
- Acoustic Recording
- International Expansion
- The Third Major Label
- The Sooys
- Documentation of Cultural Expression
- The End of an Era
- CHAPTER THREE
- 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
- CHAPTER FOUR
- Economic and Societal Overlay:
- Cyclical Decline
- One Thing after Another: The Thirties through the War
- Recovery
- CHAPTER FIVE
- 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
- CHAPTER SIX
- The Post World War II Reconstruction of the Recording Industry
- After the War
- The Boom in Independent Labels
- The Fifties
- Radio DJs
- CHAPTER SEVEN
- Mobile Music
- More Music for More People
- Music Anywhere: Radio on the Move
- My Music on the Move
- My Music Anywhere
- CHAPTER EIGHT
- Expanding the Palette
- Electric Instruments and Amplifiers
- Synthesizers
- Genre Hybridization
- CHAPTER NINE
- 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
- CHAPTER TEN
- The Sixties and Seventies
- Cultural and Creative Revolution
- The Sixties
- Mix Automation
- The Seventies
- CHAPTER ELEVEN
- 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
- CHAPTER TWELVE
- 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
- CHAPTER THIRTEEN
- Periods of standards and stability
- Proprietary versus Open Systems
- Standards
- CHAPTER FOURTEEN
- Deconstructing the Studio
- Democratizing Technologies
- Improvised Environments
- When is a Home not a Home?
- Freedom
- CHAPTER FIFTEEN
- 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
- CHAPTER SIXTEEN
- 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
- CHAPTER SEVENTEEN
- Post-Millennial Business Models
- American Idol
- Downloads
- Streaming Audio
- Non interactive streams
- Streaming on demand
- Web 2.0, Social Networking and Social Media
- Commonalities
- CHAPTER EIGHTEEN
- 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
- CONCLUSION
- ABOUT THE AUTHOR
Details
| Erscheinungsjahr: | 2014 |
|---|---|
| Genre: | Musik |
| Rubrik: | Kunst & Musik |
| Medium: | Taschenbuch |
| Inhalt: | Buch |
| ISBN-13: | 9780199357178 |
| ISBN-10: | 019935717X |
| Sprache: | Englisch |
| Ausstattung / Beilage: | Paperback |
| Einband: | Kartoniert / Broschiert |
| Autor: | Burgess, Richard James |
| Komponist: | Richard James Burgess |
| Hersteller: | Oxford University Press |
| Maße: | 234 x 156 x 16 mm |
| Von/Mit: | Richard James Burgess |
| Erscheinungsdatum: | 01.07.2014 |
| Gewicht: | 0,451 kg |
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