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Critical Approaches to the Production of Music and Sound

Editat de Dr Samantha Bennett, Eliot Bates
en Limba Engleză Hardback – 11 ian 2018
Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.
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Specificații

ISBN-13: 9781501332050
ISBN-10: 1501332058
Pagini: 288
Ilustrații: 10 bw illus
Dimensiuni: 152 x 229 x 23 mm
Greutate: 0.64 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States

Caracteristici

Moves scholarship beyond the analysis of recording production to new, multidisciplinary areas of research and into new critical frameworks

Notă biografică

Samantha Bennett is Associate Professor of Music at the Australian National University. Her work is published in Popular Music, Popular Music and Society and The Journal of Popular Music Studies. She is the author of the upcoming book Siouxsie and the Banshees' Peepshow, part of Bloomsbury's 33 1/3 series.Eliot Bates is Assistant Professor of Ethnomusicology at the City University of New York Graduate Center. He is the author of Music in Turkey: Experiencing Music, Expressing Culture (2011) and Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture (2016).

Cuprins

List of FiguresList of TablesList of Contributors Chapter 1: The Production of Music and Sound: A Multidisciplinary CritiqueEliot Bates and Samantha Bennett Section 1: Situating Production: Place, Space and Gender Chapter 2: Field Recording and the Production of PlaceTom Western (University of Edinburgh, Scotland) Chapter 3: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music ProductionDamon Minchella (University of Birmingham, England) Chapter 4: "An Indestructible Sound": Locating Gender in Genres Using Different Music Production ApproachesPaula Wolfe (Sib Records, England) Section 2: Beyond Representation Chapter 5: Producing TV Series Music in IstanbulEliot Bates (City University of New York, USA) Chapter 6: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous MusicKarl Neuenfeldt (Queensland Conservatorium, Griffith University, Australia) Section 3: Electronic Music Chapter 7: "All Sounds Are Created Equal": Mediating Democracy in Acousmatic EducationPatrick Valiquet (University of Edinburgh, UK) Chapter 8: Technologies of Play in Hip-Hop and Electronic Dance Music Production and PerformanceMike D'Errico (UCLA, USA) Section 4: Technology and Technique Chapter 9: Weapons of Mass Deception: The Invention and Re-invention of Recording Studio MythologyAlan Williams (UMASS, Lowell, USA) Chapter 10: Auto-Tune In Situ: Digital Vocal Correction And Conversational RepairOwen Marshall (Cornell University, USA) Section 5: Mediating Sound and Silence Chapter 11: Listening To or Through Technology: Opaque and Transparent Mediation Ragnhild Brøvig-Hanssen (University of Oslo, Norway) Chapter 12: Six Types of SilenceRichard Osborne (Middlesex University, England) Section 6: Virtuality and Online Production Chapter 13: Intermixtuality: Case Studies in Online Music [Re]ProductionSamantha Bennett (Australian National University, Australia) Chapter 14: Crowdfunding and Alternative Modes of ProductionMark Thorley (Coventry University, England) Index

Recenzii

Critical Approaches to the Production of Music and Sound is a wide-ranging collection of essays by scholars steeped in practice. It is a vital contribution to the literature, offering fresh insights and research on the evolving interface of music and technology.
Anyone who thinks deeply about the production of sound and music needs this book. This welcome collection of essays ranges widely, breaking through disciplinary barriers and bringing together an exhilarating array of subjects and methodologies. Perhaps most impressively, it combines-and nicely blurs-theory and practice, modeling a vibrant and much-needed dialogue between the two.