This book is designed as a general introductory reader, a textbook for undergraduate degree courses studying the creative processes involved in the production of recorded music.
This book is designed as a general introductory reader, a textbook for undergraduate degree courses studying the creative processes involved in the production of recorded music.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Simon Zagorski-Thomas is Professor at the London College of Music (University of West London) and is ex-chairman and co-founder of the Association for the Study of the Art of Record Production. Katia Isakoff is a singer, songwriter and multi-instrumentalist music producer, with album releases through Mute Records, EMI, BMG, Universal, Metamatic, and Altersonic Sound (a co-owned label and studio: altersonicsound.com). Sophie Stévance is Canada Chair Research in research-creation in music. She is professor in musicology at the Faculty of Music, University Laval, Quebec City (Canada), head of Observatoire interdisciplinaire de création et de recherche en musique (OICRM-ULaval), Laboratoire de recherche-création en musique et multimedia (LARCEM) and Groupe de recherche-création en musique (grecem.oicrm.org). Serge Lacasse is professor of musicology, specializing in popular music, at the Faculty of Music, Université Laval in Quebec City, Canada. He heads the Laboratoire audionumérique de recherche et de création (larc.oicrm.org).
Inhaltsangabe
Preface: A Quebecer Pioneer of Music Recording André Perry and Gérald Côté, Introduction Simon Zagorski Thomas, Katia Isakoff, Sophie Stévance and Serge Lacasse Part 1 The Creative Use Of Technology 1. Tanya Tagaq: A Cosmopolitan Artist in the Studio Sophie Stévance and Serge Lacasse 2. Moving at High Speed Into the Future: Notes on British Postpunk Record Production Albin Zak 3. Mixing with Quotation Marks: Restrictive Mashups and Contextual Transformation Ragnhild Brøvig Hanssen 4. Heaviness in Three Dimensions: The Use of Sonic Space in Contemporary Metal Music Production Mark Mynett Part 2 The Social Interactions Of Production Activity 5. Who's the Producer? Mike Howlett 6. Random Access Changed Everything Richard James Burgess 7. The "Virtual" producer in the Recording Studio: Media Networks in Long Distance Peripheral Performances Isabel Campelo Part 3 Forms Of Theoretical Analysis 8. The Systems Approach to Creative Practice: The Case of Supersonic 2003 2004 Phillip McIntyre 9. What is a Jazz Record Anyway? Lennie Tristano and the Use of Extended Studio Techniques in Jazz Marian Jago 10. Sound Engineering in the Recording Studio as Creative Practice Paul Thompson and Phillip McIntyre 11. Studio Recording and World Music Making in Central America: The Case of the Garifuna Paranda, From Local Revival to Internationalization Ons Barnat 12. Haydn in Modern Dress: Applying Experimental Contemporary Production Techniques to the Classical Repertoire Simon Zagorski Thomas
Preface: A Quebecer Pioneer of Music Recording André Perry and Gérald Côté, Introduction Simon Zagorski Thomas, Katia Isakoff, Sophie Stévance and Serge Lacasse Part 1 The Creative Use Of Technology 1. Tanya Tagaq: A Cosmopolitan Artist in the Studio Sophie Stévance and Serge Lacasse 2. Moving at High Speed Into the Future: Notes on British Postpunk Record Production Albin Zak 3. Mixing with Quotation Marks: Restrictive Mashups and Contextual Transformation Ragnhild Brøvig Hanssen 4. Heaviness in Three Dimensions: The Use of Sonic Space in Contemporary Metal Music Production Mark Mynett Part 2 The Social Interactions Of Production Activity 5. Who's the Producer? Mike Howlett 6. Random Access Changed Everything Richard James Burgess 7. The "Virtual" producer in the Recording Studio: Media Networks in Long Distance Peripheral Performances Isabel Campelo Part 3 Forms Of Theoretical Analysis 8. The Systems Approach to Creative Practice: The Case of Supersonic 2003 2004 Phillip McIntyre 9. What is a Jazz Record Anyway? Lennie Tristano and the Use of Extended Studio Techniques in Jazz Marian Jago 10. Sound Engineering in the Recording Studio as Creative Practice Paul Thompson and Phillip McIntyre 11. Studio Recording and World Music Making in Central America: The Case of the Garifuna Paranda, From Local Revival to Internationalization Ons Barnat 12. Haydn in Modern Dress: Applying Experimental Contemporary Production Techniques to the Classical Repertoire Simon Zagorski Thomas
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