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Book
xxix, 167 pages : illustrations ; 24 cm
  • List of Figures and Tables Acknowledgments Preface Part I: Introduction Part II: Transformations in the Recording Industry Chapter 1Recording Industry in Transition Chapter 2The Expansion of Consumption in the Recording Industry Part III: The State in Music Chapter 3Copyright: A Critical Exploration Chapter 4Critical Junctures Part IV: The Recording Industry and Labor Chapter 5Musician Labor Chapter 6Victims, Musicians and Metallica Part V: Digital Distribution and Surveillance Chapter 7Distribution Then and Now Chapter 8Watching Music Consumption Part VI: Conclusion Bibliography Notes Index.
  • (source: Nielsen Book Data)
iTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system. All too commonly, scholars have asserted too confidently, how the rise and reign of digital music has diminished the power of major record labels. In iTake-Over, music scholar David Arditi argues otherwise, adopting a broader perspective by examining how the recording industry has strengthened copyright laws for their corporate ends at the expense of the broader public good, which has traditionally depended on the safe harbor of fair use. Arditi also challenges the dominant discourse over digital music distribution, which has largely adopted the position that the recording industry has a legitimate claim to profitability at the detriment of a shared culture. iTake-Over more specifically surveys the actual material effects that digital distribution has had on the industry. Most notable among these is how major record labels find themselves in a stronger financial position today in the music industry than they were before the launch of Napster. Arditi contends that this is largely because of reduced production and distribution costs and the steady gain in digital music sales. Moreover, instead of merely trying to counteract the phenomenon of digital distribution, the RIAA and the major record labels embraced, and then altered, the distribution system. Throughout the 1990s and early 2000s, the RIAA lobbied for legislation, built technologies, and waged war in the courts in order to shape the digital environment for music distribution. From mp3s to the Digital Millennium Copyright Act (DMCA), from the Audio Home Recording Act (AHRA) to iTunes, the major record labels and the RIAA, instead of trying to torpedo the switch to digital distribution, engineered it to their benefit-often at the expense of the public interest. Throughout, Arditi boldly asserts that the sea change to digital music did not destroy the recording industry. Rather, it stands as a testament to the recording industry's successful management of this migration to digital production and distribution. As such, this work should appeal to musicians and music scholars, political scientists and sociologists, technologists and audio professionals seeking to grasp this remarkable change in music production and consumption.
(source: Nielsen Book Data)
  • List of Figures and Tables Acknowledgments Preface Part I: Introduction Part II: Transformations in the Recording Industry Chapter 1Recording Industry in Transition Chapter 2The Expansion of Consumption in the Recording Industry Part III: The State in Music Chapter 3Copyright: A Critical Exploration Chapter 4Critical Junctures Part IV: The Recording Industry and Labor Chapter 5Musician Labor Chapter 6Victims, Musicians and Metallica Part V: Digital Distribution and Surveillance Chapter 7Distribution Then and Now Chapter 8Watching Music Consumption Part VI: Conclusion Bibliography Notes Index.
  • (source: Nielsen Book Data)
iTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system. All too commonly, scholars have asserted too confidently, how the rise and reign of digital music has diminished the power of major record labels. In iTake-Over, music scholar David Arditi argues otherwise, adopting a broader perspective by examining how the recording industry has strengthened copyright laws for their corporate ends at the expense of the broader public good, which has traditionally depended on the safe harbor of fair use. Arditi also challenges the dominant discourse over digital music distribution, which has largely adopted the position that the recording industry has a legitimate claim to profitability at the detriment of a shared culture. iTake-Over more specifically surveys the actual material effects that digital distribution has had on the industry. Most notable among these is how major record labels find themselves in a stronger financial position today in the music industry than they were before the launch of Napster. Arditi contends that this is largely because of reduced production and distribution costs and the steady gain in digital music sales. Moreover, instead of merely trying to counteract the phenomenon of digital distribution, the RIAA and the major record labels embraced, and then altered, the distribution system. Throughout the 1990s and early 2000s, the RIAA lobbied for legislation, built technologies, and waged war in the courts in order to shape the digital environment for music distribution. From mp3s to the Digital Millennium Copyright Act (DMCA), from the Audio Home Recording Act (AHRA) to iTunes, the major record labels and the RIAA, instead of trying to torpedo the switch to digital distribution, engineered it to their benefit-often at the expense of the public interest. Throughout, Arditi boldly asserts that the sea change to digital music did not destroy the recording industry. Rather, it stands as a testament to the recording industry's successful management of this migration to digital production and distribution. As such, this work should appeal to musicians and music scholars, political scientists and sociologists, technologists and audio professionals seeking to grasp this remarkable change in music production and consumption.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .A76 2015 Unknown
Book
316 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
  • Introduction. "Something new-built along the same lines"
  • Starting out : Independence, 1892-1919
  • Getting the music : Okeh, records, and roots, 1919-1926
  • To victor, on to Bristol, and the making of giants, 1926-1927
  • Reaching out from the roots : southern music, 1927-1933
  • Breaking loose, branching out, starting over, 1933-1940
  • Crossing borders : the war, Latin music, and the media, 1940-1945
  • Going global : expanding, 1946-1951
  • Locking a legacy, 1952-1960
  • The roots and pop aftermath
  • Appendix. key recordings and published songs of Ralph Peer, 1920-1960.
  • Introduction. "Something new-built along the same lines"
  • Starting out : Independence, 1892-1919
  • Getting the music : Okeh, records, and roots, 1919-1926
  • To victor, on to Bristol, and the making of giants, 1926-1927
  • Reaching out from the roots : southern music, 1927-1933
  • Breaking loose, branching out, starting over, 1933-1940
  • Crossing borders : the war, Latin music, and the media, 1940-1945
  • Going global : expanding, 1946-1951
  • Locking a legacy, 1952-1960
  • The roots and pop aftermath
  • Appendix. key recordings and published songs of Ralph Peer, 1920-1960.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML429 .P37 M39 2015 Unknown
Book
xvi, 647 pages ; 25 cm
  • Introduction - Andy Bennett and Steve Waksman SECTION 1: Theory and Method - Introduction by Andy Bennett The Many Worlds of Popular Music: Ethnomusicological - Kevin Dawe Notes on Sociological Theory and Popular Music Studies - Motti Regev Waiting for the Great Leap Forwards: Mixing Pop, Politics - Gilbert B. Rodman (Re)Generations of Popular Musicology - Serge Lacasse Archival Research and the Expansion of Popular Music - Christine Feldman-Barratt SECTION 2: The Business of Popular Music - Introduction by Steve Waksman Power, Production and the Pop Process - Reebee Garofalo Intermediaries and Intermediation - Devon Powers Popular Musical Labor in North America - Matt Stahl Music in Advertising in the U.S.: History and Issues - Timothy D. Taylor SECTION 3: Popular Music History - Introduction by Steve Waksman Grinding out Hits at the Song Factory - Keir Keightley Popular Music Genres: Aesthetics, Commerce and Identity - David Brackett Live Music History - Matt Brennan SECTION 4: The Global and the Local - Introduction by Andy Bennett Observations on African, African-American, Middle Eastern - Tony Mitchell Electronic Dance Music Cultures, Ritualization and the Case - Graham St. John "Everything Louder than Everyone Else': The Origins and Persistence of Heavy Metal and Its Global Cultural Impact - Andy Brown Punk Rock Globalization - Ross Haenfler SECTION 5: The Star System - Introduction by Steve Waksman Rock Stars as Icons - David Shumway Everybody's in Show Biz: Performing Star Identity in Popular Music - Philip Auslander Midnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop - Jacqueline Warwick Dark Cosmos: Making Race, Shaping Stardom - C. Riley Snorton SECTION 6: Body and Identity - Introduction by Andy Bennett Blurred lines, gender and Popular Music - Sheila Whiteley Popular Music, Race and Identity - Jon Stratton Dancing the Popular: The Expressive Interface of Bodies, Sound and Motion - Sherril Dodds Shaping the Past of Popular music: Memory, Forgetting and Documenting - Catherine Strong SECTION 7: Media - Introduction by Andy Bennett In Print and On Screen: The Changing Character of Popular Music Journalism - Simon Warner Sight and Sound in Concert? The Interrelationship Between Music and Television - Tim Wall and Paul Long Viewing with Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema - Scott Henderson Beyond Napster: Popular Music and the 'Normal' Internet - Nick Prior SECTION 8: Technology - Introduction by Steve Waksman Phonography and the 'Recording' in Popular Music - Patrick Feaster Ghosts of Electricity: Amplification - Peter Doyle Ubiquitous Musics: Technology, Listening, and Subjectivity - Anahid Kassabian SECTION 9: Digital Economies - Introduction by Steve Waksman Modes of Production: The Value of Modal Analysis for Popular Music Studies - Tim Anderson Music, Copies and Essences - Joanna Demers Authorship, Ownership, and Musical Appropriation - Kembrew McLeod Music Cartels and the Dematerialization of Power - Aram Sinnreich.
  • (source: Nielsen Book Data)
"The SAGE Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard reference in popular music. The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship. International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field." (Will Straw, McGill University). "Celebrating the maturation of popular music studies and recognizing the immense changes that have recently taken place in the conditions of popular music production, The SAGE Handbook of Popular Music features contributions from many of the leading scholars in the field. Every chapter is well defined and to the point, with bibliographies that capture the history of the field. Authoritative, expertly organized and absolutely up-to-date, this collection will instantly become the backbone of teaching and research across the Anglophone world and is certain to be cited for years to come." (Barry Shank, author of 'The Political Force of Musical Beauty' (2014)). The SAGE Handbook of Popular Music provides a highly comprehensive and accessible summary of the key aspects of popular music studies. The text is divided into 9 sections: Theory and Method; The Business of Popular Music; Popular Music History; The Global and the Local; The Star System; Body and Identity; Media; Technology and Digital Economies. Each section has been chosen to reflect both established aspects of popular music studies as well as more recently emerging sub-fields. The handbook constitutes a timely and important contribution to popular music studies during a significant period of theoretical and empirical growth and innovation in the field. This is a benchmark work which will be essential reading for educators and students in popular music studies, musicology, cultural studies, media studies and cultural sociology.
(source: Nielsen Book Data)
  • Introduction - Andy Bennett and Steve Waksman SECTION 1: Theory and Method - Introduction by Andy Bennett The Many Worlds of Popular Music: Ethnomusicological - Kevin Dawe Notes on Sociological Theory and Popular Music Studies - Motti Regev Waiting for the Great Leap Forwards: Mixing Pop, Politics - Gilbert B. Rodman (Re)Generations of Popular Musicology - Serge Lacasse Archival Research and the Expansion of Popular Music - Christine Feldman-Barratt SECTION 2: The Business of Popular Music - Introduction by Steve Waksman Power, Production and the Pop Process - Reebee Garofalo Intermediaries and Intermediation - Devon Powers Popular Musical Labor in North America - Matt Stahl Music in Advertising in the U.S.: History and Issues - Timothy D. Taylor SECTION 3: Popular Music History - Introduction by Steve Waksman Grinding out Hits at the Song Factory - Keir Keightley Popular Music Genres: Aesthetics, Commerce and Identity - David Brackett Live Music History - Matt Brennan SECTION 4: The Global and the Local - Introduction by Andy Bennett Observations on African, African-American, Middle Eastern - Tony Mitchell Electronic Dance Music Cultures, Ritualization and the Case - Graham St. John "Everything Louder than Everyone Else': The Origins and Persistence of Heavy Metal and Its Global Cultural Impact - Andy Brown Punk Rock Globalization - Ross Haenfler SECTION 5: The Star System - Introduction by Steve Waksman Rock Stars as Icons - David Shumway Everybody's in Show Biz: Performing Star Identity in Popular Music - Philip Auslander Midnight Ramblers and Material Girls: Gender and Stardom in Rock and Pop - Jacqueline Warwick Dark Cosmos: Making Race, Shaping Stardom - C. Riley Snorton SECTION 6: Body and Identity - Introduction by Andy Bennett Blurred lines, gender and Popular Music - Sheila Whiteley Popular Music, Race and Identity - Jon Stratton Dancing the Popular: The Expressive Interface of Bodies, Sound and Motion - Sherril Dodds Shaping the Past of Popular music: Memory, Forgetting and Documenting - Catherine Strong SECTION 7: Media - Introduction by Andy Bennett In Print and On Screen: The Changing Character of Popular Music Journalism - Simon Warner Sight and Sound in Concert? The Interrelationship Between Music and Television - Tim Wall and Paul Long Viewing with Your Ears, Listening With Your Eyes: Synching Popular Music and Cinema - Scott Henderson Beyond Napster: Popular Music and the 'Normal' Internet - Nick Prior SECTION 8: Technology - Introduction by Steve Waksman Phonography and the 'Recording' in Popular Music - Patrick Feaster Ghosts of Electricity: Amplification - Peter Doyle Ubiquitous Musics: Technology, Listening, and Subjectivity - Anahid Kassabian SECTION 9: Digital Economies - Introduction by Steve Waksman Modes of Production: The Value of Modal Analysis for Popular Music Studies - Tim Anderson Music, Copies and Essences - Joanna Demers Authorship, Ownership, and Musical Appropriation - Kembrew McLeod Music Cartels and the Dematerialization of Power - Aram Sinnreich.
  • (source: Nielsen Book Data)
"The SAGE Handbook of Popular Music is a comprehensive, smartly-conceived volume that can take its place as the new standard reference in popular music. The editors have shown great care in covering classic debates while moving the field into new, exciting areas of scholarship. International in its focus and pleasantly wide-ranging across historical periods, the Handbook is accessible to students but full of material of interest to those teaching and researching in the field." (Will Straw, McGill University). "Celebrating the maturation of popular music studies and recognizing the immense changes that have recently taken place in the conditions of popular music production, The SAGE Handbook of Popular Music features contributions from many of the leading scholars in the field. Every chapter is well defined and to the point, with bibliographies that capture the history of the field. Authoritative, expertly organized and absolutely up-to-date, this collection will instantly become the backbone of teaching and research across the Anglophone world and is certain to be cited for years to come." (Barry Shank, author of 'The Political Force of Musical Beauty' (2014)). The SAGE Handbook of Popular Music provides a highly comprehensive and accessible summary of the key aspects of popular music studies. The text is divided into 9 sections: Theory and Method; The Business of Popular Music; Popular Music History; The Global and the Local; The Star System; Body and Identity; Media; Technology and Digital Economies. Each section has been chosen to reflect both established aspects of popular music studies as well as more recently emerging sub-fields. The handbook constitutes a timely and important contribution to popular music studies during a significant period of theoretical and empirical growth and innovation in the field. This is a benchmark work which will be essential reading for educators and students in popular music studies, musicology, cultural studies, media studies and cultural sociology.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3470 .S35 2015 Unknown
Book
xxiii, 203 pages : illustrations ; 24 cm
  • Acknowledgements Preface 1. Vinyl as Record: Several Lives of the 'King Format' 2. Medium: Handling and Hearing 3. Thing: Qualities and Entanglements 4. Commodity: Value and Markets 5. Totem: Scene-Making in Urban Spaces Epilogue: Modern Icon Notes Bibliography Index.
  • (source: Nielsen Book Data)
Recent years have seen not just a revival, but a rebirth of the analogue record. More than merely a nostalgic craze, vinyl has become a cultural icon. As music consumption migrated to digital and online, this seemingly obsolete medium became the fastest-growing format in music sales. Whilst vinyl never ceased to be the favorite amongst many music lovers and DJs, from the late 1980s the recording industry regarded it as an outdated relic, consigned to dusty domestic corners and obscure record shops. So why is vinyl now experiencing a 'rebirth of its cool'? Dominik Bartmanski and Ian Woodward explore this question by combining a cultural sociological approach with insights from material culture studies. Presenting vinyl as a multifaceted cultural object, they investigate the reasons behind its persistence within our technologically accelerated culture. Informed by media analysis, urban ethnography and the authors' interviews with musicians, DJs, sound engineers, record store owners, collectors and cutting-edge label chiefs from a range of metropolitan centres renowned for thriving music scenes including London, New York, Tokyo, Melbourne, and especially Berlin, what emerges is a story of a modern icon.
(source: Nielsen Book Data)
  • Acknowledgements Preface 1. Vinyl as Record: Several Lives of the 'King Format' 2. Medium: Handling and Hearing 3. Thing: Qualities and Entanglements 4. Commodity: Value and Markets 5. Totem: Scene-Making in Urban Spaces Epilogue: Modern Icon Notes Bibliography Index.
  • (source: Nielsen Book Data)
Recent years have seen not just a revival, but a rebirth of the analogue record. More than merely a nostalgic craze, vinyl has become a cultural icon. As music consumption migrated to digital and online, this seemingly obsolete medium became the fastest-growing format in music sales. Whilst vinyl never ceased to be the favorite amongst many music lovers and DJs, from the late 1980s the recording industry regarded it as an outdated relic, consigned to dusty domestic corners and obscure record shops. So why is vinyl now experiencing a 'rebirth of its cool'? Dominik Bartmanski and Ian Woodward explore this question by combining a cultural sociological approach with insights from material culture studies. Presenting vinyl as a multifaceted cultural object, they investigate the reasons behind its persistence within our technologically accelerated culture. Informed by media analysis, urban ethnography and the authors' interviews with musicians, DJs, sound engineers, record store owners, collectors and cutting-edge label chiefs from a range of metropolitan centres renowned for thriving music scenes including London, New York, Tokyo, Melbourne, and especially Berlin, what emerges is a story of a modern icon.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML1055 .B19 2015 Unknown
Book
399 p. : ill. (chiefly col.) ; 29 cm
Released to commemorate the 75th anniversary of the coolest and best- known label in jazz, this book celebrates over seven decades of extraordinary music from a company that has stayed true to its founders commitment to Uncompromising Expression. Tracing the evolution of jazz from the boogie- woogie and swing of the 1930s, through bebop, funk and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Blue Note is not only known as the purveyor of extraordinary jazz but is also famous as an arbiter of cool. The photography of co-founder Francis Wolff and the cover designs of Reid Miles were integral to the labels success and this highly illustrated, landmark publication featuring the very best photographs, covers, and ephemera from the archives, including never-before-published material commemorates Blue Notes momentous contribution to jazz, to art and design as well as to revolutionizing the music business.
(source: Nielsen Book Data)
Released to commemorate the 75th anniversary of the coolest and best- known label in jazz, this book celebrates over seven decades of extraordinary music from a company that has stayed true to its founders commitment to Uncompromising Expression. Tracing the evolution of jazz from the boogie- woogie and swing of the 1930s, through bebop, funk and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Blue Note is not only known as the purveyor of extraordinary jazz but is also famous as an arbiter of cool. The photography of co-founder Francis Wolff and the cover designs of Reid Miles were integral to the labels success and this highly illustrated, landmark publication featuring the very best photographs, covers, and ephemera from the archives, including never-before-published material commemorates Blue Notes momentous contribution to jazz, to art and design as well as to revolutionizing the music business.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3506 .H38 2014 In-library use In process
Book
xiii, 382 pages, 8 unnumbered pages of plates : illustrations ; 25 cm
  • Talking machines
  • Judgments
  • His master's voice
  • Exodus
  • The invisible wave
  • Survivors
  • Dead Sea crossing
  • Homesick medicine
  • Sunrise
  • Lucky children
  • Numbers
  • The invasion
  • Acts
  • A slow eclipse
  • Terra nova
  • On black canvas
  • Forbidden fruit
  • Taurus
  • Kings
  • Psalms
  • The island
  • High tide
  • Sources
  • Sodom & Gomorrah
  • Shadows
  • Cyclops
  • Legends
  • Romans
  • Lamentations
  • Bubblegum forest
  • Revelations.
Cowboys and Indies is the definitive record business bible, chronicling the pioneers who set the stylus on the most important labels and musical discoveries of the last century. The narrative follows all the musical trends and developments, from the phonograph to the internet age, as it delves behind the big business of corporate hit machines and the diligent industry of small, curated labels. Drawing from memoirs, archives, and over one hundred exclusive interviews with the legends of the record industry including the founders and CEOs of Virgin Records, United Artists, Atlantic Records, and A&M, this book reveals the secrets behind the hit making craft. Cowboys and Indies focuses on the game changers - the indie founders, talent scouts, the legendary A&R men - believers who understood the music business was two distinct parts; first music, then business. An industry insider himself, Gareth Murphy culls numerous behind-the-scenes anecdotes to bring together a clear genealogical map of the record industry's international 130 year history. Among its revelations, Cowboys and Indies highlights the remarkable similarities between the industry crash in the 1920s and 30s and the recent CD crash. Witty and evocative, Cowboys and Indies offers a fresh panoramic view of the cycles and grooves of pop music and is sure to top the charts with music industry classics like Hitmaker and The Mansion on the Hill.
(source: Nielsen Book Data)
  • Talking machines
  • Judgments
  • His master's voice
  • Exodus
  • The invisible wave
  • Survivors
  • Dead Sea crossing
  • Homesick medicine
  • Sunrise
  • Lucky children
  • Numbers
  • The invasion
  • Acts
  • A slow eclipse
  • Terra nova
  • On black canvas
  • Forbidden fruit
  • Taurus
  • Kings
  • Psalms
  • The island
  • High tide
  • Sources
  • Sodom & Gomorrah
  • Shadows
  • Cyclops
  • Legends
  • Romans
  • Lamentations
  • Bubblegum forest
  • Revelations.
Cowboys and Indies is the definitive record business bible, chronicling the pioneers who set the stylus on the most important labels and musical discoveries of the last century. The narrative follows all the musical trends and developments, from the phonograph to the internet age, as it delves behind the big business of corporate hit machines and the diligent industry of small, curated labels. Drawing from memoirs, archives, and over one hundred exclusive interviews with the legends of the record industry including the founders and CEOs of Virgin Records, United Artists, Atlantic Records, and A&M, this book reveals the secrets behind the hit making craft. Cowboys and Indies focuses on the game changers - the indie founders, talent scouts, the legendary A&R men - believers who understood the music business was two distinct parts; first music, then business. An industry insider himself, Gareth Murphy culls numerous behind-the-scenes anecdotes to bring together a clear genealogical map of the record industry's international 130 year history. Among its revelations, Cowboys and Indies highlights the remarkable similarities between the industry crash in the 1920s and 30s and the recent CD crash. Witty and evocative, Cowboys and Indies offers a fresh panoramic view of the cycles and grooves of pop music and is sure to top the charts with music industry classics like Hitmaker and The Mansion on the Hill.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Reference (non-circulating)
ML3790 .M665 2014 In-library use
Book
336 p. ; 23 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3535.5 .T32 2014 Unknown
Book
427 pages : illustrations (some color) ; 22 cm
  • Vorwort
  • Einleitung
  • Einführung : das Label
  • Definition
  • Aufgaben eines Labels
  • Struktur eines Labels
  • Unterschiede Indie vs. Majors : Spezialisten vs. Allrounder
  • Über die Notwendigkeit von Labels
  • Die Musikindustrie
  • Die Entstehung und Entwicklung der Musikindustrie
  • Der Musikmarkt in Deutschland
  • Orientierungsinstrumente der Musikindustrie
  • Das Konzept Genre
  • Die Marke
  • Genres und Marken in der Musikindustrie
  • Zwischenbilanz : die Beziehungen zwischen Genres und Marken in der Musik
  • Die Bedeutung des Medienumbruchs für die Musikb6ranche
  • Die Time-Konvergenz
  • Das Tsunami-Modell
  • Merkmale und Eigenschaften der Neuen Medien
  • Auswirkungen auf die Musikbranche
  • Genres und Marken in der digitalen Musikwelt
  • Orientierungsinstrumente in der heutigen Musikindustrie
  • Das Konzept Genre bei Labels in der Praxis
  • Markenführungsansätze bei Labels in der Praxis
  • Labels und die Orientierungsinstrumente Genre und Marke
  • Ausblick
  • Quellen und Literatur.
  • Vorwort
  • Einleitung
  • Einführung : das Label
  • Definition
  • Aufgaben eines Labels
  • Struktur eines Labels
  • Unterschiede Indie vs. Majors : Spezialisten vs. Allrounder
  • Über die Notwendigkeit von Labels
  • Die Musikindustrie
  • Die Entstehung und Entwicklung der Musikindustrie
  • Der Musikmarkt in Deutschland
  • Orientierungsinstrumente der Musikindustrie
  • Das Konzept Genre
  • Die Marke
  • Genres und Marken in der Musikindustrie
  • Zwischenbilanz : die Beziehungen zwischen Genres und Marken in der Musik
  • Die Bedeutung des Medienumbruchs für die Musikb6ranche
  • Die Time-Konvergenz
  • Das Tsunami-Modell
  • Merkmale und Eigenschaften der Neuen Medien
  • Auswirkungen auf die Musikbranche
  • Genres und Marken in der digitalen Musikwelt
  • Orientierungsinstrumente in der heutigen Musikindustrie
  • Das Konzept Genre bei Labels in der Praxis
  • Markenführungsansätze bei Labels in der Praxis
  • Labels und die Orientierungsinstrumente Genre und Marke
  • Ausblick
  • Quellen und Literatur.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .S561 2014 Unknown
Book
xiv, 245 pages : illustrations ; 24 cm
  • 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.
  • (source: Nielsen Book Data)
Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.
(source: Nielsen Book Data)
  • 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.
  • (source: Nielsen Book Data)
Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3790 .B842 2014 In-library use
Book
158 pages : illustrations ; 23 cm
  • The sound of Muscle Shoals
  • Becoming famous
  • The Swampers
  • The singing river
  • A slow start
  • The Rolling Stones
  • Time to kill
  • Lynyrd Skynyrd
  • The Staple Singers
  • Where black and white meet
  • The hit parade
  • Continued success
  • Alabama Avenue
  • Noel Webster
  • The Black Keys
  • A memorial to music
  • Documenting the sound
  • Marching to a new beat
  • Onward.
  • The sound of Muscle Shoals
  • Becoming famous
  • The Swampers
  • The singing river
  • A slow start
  • The Rolling Stones
  • Time to kill
  • Lynyrd Skynyrd
  • The Staple Singers
  • Where black and white meet
  • The hit parade
  • Continued success
  • Alabama Avenue
  • Noel Webster
  • The Black Keys
  • A memorial to music
  • Documenting the sound
  • Marching to a new beat
  • Onward.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .W495 2014 Unknown
Book
306 pages : illustrations (some color) ; 24 cm.
  • Musikwirtschaft 2.0. Bestandsaufnahmen und Perspektiven : eine Einführung / Steffen Höhne und Wolf-Georg Zaddach
  • Musikpolitik : Voraussetzungen, Aufgaben und Ziele der öffentlichen Musikförderung / Martin Pfleiderer
  • Wandel vor der Digitalisierung : die Schallplatte als Perspektive für die Musikwirtschaft der 1950er und 1960er Jahre / Christian A. Müller
  • The British music industry : challenges and adaption in the Twenty-first century / Stuart Moss
  • Der deutsche Klassikmarkt : eine wirtschaftliche Betrachtung / Martin Lücke
  • Unbestimmtheiten der Musikindustrie 2.0 : eine Prozessperspektive / Matthias Maier und Nancy Richter
  • Perspektive Kreativunternehmer? Rollenbilder und -modelle zwischen künsderischem Anspruch und Realität, zwischen Zuschreibung und Erwartung / Steffen Höhne
  • Erfolgreiche Handlungskompetenz : Musiker zwischen Kreativität und Entrepreneurship / Elmar D. Konrad
  • Die Rolle des Konsumenten, neue Erlösmodelle und Property-Rights-Ausgestaltung in der digitalen Musikindustrie / Jutta Emes und Christin Friedemann
  • Musik & Recht im digitalen Zeitalter : zwischen Ohnmacht und Aufbruch / Pascal Charles Amann
  • "Music is an enginge of the digitale world" : Musik und Musikwirtschaft im Zeitalter des Social Web / Wolf-Georg Zaddach
  • #Fusionfestival : Tribal-Tagging bei Twitter am Beispiel des Fusion Festivals in Lärz 2013 / Ekkehard Knopke und Carsten Wernicke
  • Automatic retrieval of rhythmic patterns for the global music database, a joint-project between musicologists and audio engineers / Nina Graeff, Philip Küppers, Felix Pfeifer und Tiago de Oliveira Pinto
  • Charakterisierung des Konsumenten von Musik im Internet / Ian Pascal Volz
  • Zukunftsperspektive Musikfestival? Musikfestivals im Wandel / Uwe Wagner
  • Freiberuflich als Komponist / Ludger Vollmer
  • Autoren.
  • Musikwirtschaft 2.0. Bestandsaufnahmen und Perspektiven : eine Einführung / Steffen Höhne und Wolf-Georg Zaddach
  • Musikpolitik : Voraussetzungen, Aufgaben und Ziele der öffentlichen Musikförderung / Martin Pfleiderer
  • Wandel vor der Digitalisierung : die Schallplatte als Perspektive für die Musikwirtschaft der 1950er und 1960er Jahre / Christian A. Müller
  • The British music industry : challenges and adaption in the Twenty-first century / Stuart Moss
  • Der deutsche Klassikmarkt : eine wirtschaftliche Betrachtung / Martin Lücke
  • Unbestimmtheiten der Musikindustrie 2.0 : eine Prozessperspektive / Matthias Maier und Nancy Richter
  • Perspektive Kreativunternehmer? Rollenbilder und -modelle zwischen künsderischem Anspruch und Realität, zwischen Zuschreibung und Erwartung / Steffen Höhne
  • Erfolgreiche Handlungskompetenz : Musiker zwischen Kreativität und Entrepreneurship / Elmar D. Konrad
  • Die Rolle des Konsumenten, neue Erlösmodelle und Property-Rights-Ausgestaltung in der digitalen Musikindustrie / Jutta Emes und Christin Friedemann
  • Musik & Recht im digitalen Zeitalter : zwischen Ohnmacht und Aufbruch / Pascal Charles Amann
  • "Music is an enginge of the digitale world" : Musik und Musikwirtschaft im Zeitalter des Social Web / Wolf-Georg Zaddach
  • #Fusionfestival : Tribal-Tagging bei Twitter am Beispiel des Fusion Festivals in Lärz 2013 / Ekkehard Knopke und Carsten Wernicke
  • Automatic retrieval of rhythmic patterns for the global music database, a joint-project between musicologists and audio engineers / Nina Graeff, Philip Küppers, Felix Pfeifer und Tiago de Oliveira Pinto
  • Charakterisierung des Konsumenten von Musik im Internet / Ian Pascal Volz
  • Zukunftsperspektive Musikfestival? Musikfestivals im Wandel / Uwe Wagner
  • Freiberuflich als Komponist / Ludger Vollmer
  • Autoren.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
ML3790 .M865 2014 Available
Book
xiii, 197 pages : illustrations ; 23 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML429 .S57 A3 2014 Unknown
Book
140 pages : illustrations ; 23 cm.
SAL1&2 (on-campus shelving)
Status of items at SAL1&2 (on-campus shelving)
SAL1&2 (on-campus shelving) Status
Stacks Request
TK7881.4 .A73 2014 Unknown
Book
121 pages : illustrations ; 23 cm
"Discover the history of Austin's Sonobeat Records and the important role the studio played in the development of Austin music during the '60s"-- Provided by publisher.
"Discover the history of Austin's Sonobeat Records and the important role the studio played in the development of Austin music during the '60s"-- Provided by publisher.
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3792 .S68 S74 2014 Unknown
Book
1 volume (unpaged) : illustrations (some color) ; 31 cm
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Reference (non-circulating)
ML3792 .M6 U73 2014 F In-library use
Book
xii, 329 pages ; 24 cm
  • CONTENTS -- SECTION ONE: THE THEORY -- CHAPTER ONE -- Types of Music Producers -- Functional Typologies -- Artist -- Auteur -- Facilitative -- Collaborative: -- Enablative -- Consultative -- In Summation -- Subset Typologies -- Analogous Structures -- Leadership Styles -- SECTION TWO: THE PRACTICE -- CHAPTER TWO -- Becoming a Music Producer -- How Do You Become a Music Producer? -- The Musician or Artist -- The Audio Engineer -- The Songwriter -- The DJ -- DIY -- Discoverer -- Entrepreneur -- Multipath -- Examples of producers from these backgrounds: -- Examples: musician -- Examples: engineer -- Examples: Songwriters -- Example: DJ -- Example: DIY -- Examples: Discoverer -- Examples: Entrepreneur -- Examples: Multipath -- Qualifications and Training -- Are Qualifications Necessary? -- What Is Helpful? -- How Much Technical Knowledge Do You Need? -- How Much Musical Knowledge Do You Need? -- What If You Have Neither Musical Nor Technical Skills? -- Making the Transition to Music Producer: -- The Door Is Open, Your Foot Is In, Now What? -- CHAPTER THREE -- Being a Music Producer -- The Day-to-Day Responsibilities and Process: -- The First Meeting: -- Administration -- Preproduction -- The Production Phase -- The Mix -- Other Perspectives -- Some Session Specifics: -- Recording Musicians Live In The Studio -- Recording an Orchestra or Big Band -- Overdubbing Live Musicians -- The Programmed Session -- Vocal Sessions -- Which Method Makes a Better Record-Live, Overdubbed or Computer? -- What Are 'They' Going To Expect Of You? -- The Artist? -- The Record Company? -- The Artist's Manager? -- CHAPTER FOUR -- What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is The Mix Really? -- Timeliness -- The Heart -- Are These Rules To Which There Are Exceptions? -- CHAPTER FIVE -- What Can You Expect From a Career As A Producer? -- How Is Your Health? -- Why Do A&R People Hire You? -- If You're Hot? -- If You're Not Quite There Yet? -- If You Were Recently Hot? -- When The Night's Closing In? -- What Prevents Them From Coming Back To You? -- What Is The Best Way To Get Work? -- Branding, Marketing and Sales? -- Branding -- Marketing -- Sales -- The Practicalities of Branding, Marketing and Sales -- CHAPTER SIX -- Managers -- What is the Definition of the Term "Manager"? -- What Does A Producer Manager Do? -- What Does A Manager Cost -- Do They Earn Their Percentage? -- How Do You Avoid Getting Ripped Off By Your Manager? -- Could You Lose Work To Other Producers On The Manager's Roster? -- How Do You Define 'Best Manager' For You? -- How Can You Find Such A Person? -- How Do You Persuade Them To Take You On? -- Business Managers -- CHAPTER SEVEN -- The Producer's Relationships -- With the artist? -- Best Friends? -- Able To Fit In? -- Hang After Hours? -- Professional or Aloof? -- How Do You Tell Them Something Is Not Working? -- Where Does Your Responsibility Lie? -- To The Artist -- To The Record Company -- To Yourself -- To The Project -- What About Drugs and Alcohol? -- In the Studio? -- Outside of Working Hours? -- What if the Artist Does and You Do Not? -- What Do You Do When The Artist Becomes Difficult? -- What Do You Do When The Record Company is Unhappy? -- What Do You Do When The Artist's Manager Is Difficult -- CHAPTER EIGHT -- Lawyers -- What Changed to Make Hiring Attorney Less Viable For Producers -- How Much Will They Cost You? -- How Much Do You Really Need Them? -- How Much Should You Depend On Them? -- What Happens When They Get It Wrong? -- What Other Kinds of Things Can Go Wrong? -- What is a Typical Legal Process Leading Up to the Production? -- What Can Be Done To Protect Producers? -- CHAPTER NINE -- Challenges and Controversies -- Differences of Opinion -- The Endless Album -- Lack of Vision -- Micro-Vision -- The Singer Is Not Performing Well -- The Musicians Are Not Performing Well -- One of the Musicians Is Messing Up Every Take -- What Is Demo-itis or Rough Mix-itis? -- Near the End of the Album, Suddenly the Artist is Having Doubts -- The A&R Person Does Not Like the Record -- What Makes It Seem Like Hard Work? -- How Much Loyalty Can You Expect Within The Business? -- From The Artist -- First Girlfriend Syndrome -- From The A&R Person -- Final Word on Loyalty -- CHAPTER TEN -- Success And Money -- How Are Producers Paid? -- How Much Can a Producer Make? -- How Are Producer Royalties Calculated? -- Recoupment -- Payment From Record One -- Where does the money come from? -- Digital Download Royalties -- Sound Recording Performance Royalties -- Producers Who Also Write the Songs -- Summation -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How will producers make money in the future? -- Can You Increase Your Chances Of Success? -- Credits -- Executive Producer -- Album Producer -- Producer -- Co-producer -- Associate Producer -- Additional Production By -- Multiple Producer Credits -- Vocal Production or Vocals Produced By -- Compilation Soundtrack Album Producer -- Strings (or any other instrument) Produced By -- What Is The Secret To Longevity? -- Add entrepreneur to your portfolio -- CHAPTER ELEVEN -- Why Are There So Few Women Producers? -- What we know -- Women Producers Today -- Some Women Producers in History -- Inconclusive Conclusion -- CHAPTER TWELVE -- Frequently Asked Questions -- How Much Is Learned-- How Much Is Natural Ability? -- How Do You Pick The Right Project? -- Should You Share in Song Writing Royalties? -- New Versus Established Artists? -- What Is Involved In Being An Independent Or Freelance Producer? -- What About Being a Staff Producer? -- What Are The Best Moments? -- Can You Successfully Genre Hop? -- Advantages And Disadvantages -- Who Has Done It? -- How Stable is a Producer's Career? -- How does a production career end? -- Making Plans And When? -- What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want To Produce Records? -- Why Do People Want To Make Records At All? -- Do You Know When You Have Produced A Hit? -- How Do Producers Feel About Remixers? -- What's The Remixer's Point Of View? -- How do A&R People View Remixes? -- What Is The 'Sophomore Slump'? -- Digital versus Analog -- CHAPTER THIRTEEN -- Working Outside The Mainstream? -- Classical -- Jazz -- Country -- Traditional, Folk, Roots And World Music -- Children's Music -- Regional Producers -- CHAPTER FOURTEEN -- Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet That Crippled Cable But Vivified Video Which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does This Mean To The Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels In The Future? -- Charts -- Marketing -- Will Music Producers Survive The Revolution? -- CHAPTER FIFTEEN -- Conclusion -- What If -- The Final Cut -- Glossary -- Index -- About the Author -- Notes -- Bibliography.
  • (source: Nielsen Book Data)
Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published, " Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.
(source: Nielsen Book Data)
  • CONTENTS -- SECTION ONE: THE THEORY -- CHAPTER ONE -- Types of Music Producers -- Functional Typologies -- Artist -- Auteur -- Facilitative -- Collaborative: -- Enablative -- Consultative -- In Summation -- Subset Typologies -- Analogous Structures -- Leadership Styles -- SECTION TWO: THE PRACTICE -- CHAPTER TWO -- Becoming a Music Producer -- How Do You Become a Music Producer? -- The Musician or Artist -- The Audio Engineer -- The Songwriter -- The DJ -- DIY -- Discoverer -- Entrepreneur -- Multipath -- Examples of producers from these backgrounds: -- Examples: musician -- Examples: engineer -- Examples: Songwriters -- Example: DJ -- Example: DIY -- Examples: Discoverer -- Examples: Entrepreneur -- Examples: Multipath -- Qualifications and Training -- Are Qualifications Necessary? -- What Is Helpful? -- How Much Technical Knowledge Do You Need? -- How Much Musical Knowledge Do You Need? -- What If You Have Neither Musical Nor Technical Skills? -- Making the Transition to Music Producer: -- The Door Is Open, Your Foot Is In, Now What? -- CHAPTER THREE -- Being a Music Producer -- The Day-to-Day Responsibilities and Process: -- The First Meeting: -- Administration -- Preproduction -- The Production Phase -- The Mix -- Other Perspectives -- Some Session Specifics: -- Recording Musicians Live In The Studio -- Recording an Orchestra or Big Band -- Overdubbing Live Musicians -- The Programmed Session -- Vocal Sessions -- Which Method Makes a Better Record-Live, Overdubbed or Computer? -- What Are 'They' Going To Expect Of You? -- The Artist? -- The Record Company? -- The Artist's Manager? -- CHAPTER FOUR -- What Are the Timeless Ingredients in a Hit? -- The Song (or Material) -- The Vocal -- The Arrangement -- The Performance -- The Engineering -- How Important Is The Mix Really? -- Timeliness -- The Heart -- Are These Rules To Which There Are Exceptions? -- CHAPTER FIVE -- What Can You Expect From a Career As A Producer? -- How Is Your Health? -- Why Do A&R People Hire You? -- If You're Hot? -- If You're Not Quite There Yet? -- If You Were Recently Hot? -- When The Night's Closing In? -- What Prevents Them From Coming Back To You? -- What Is The Best Way To Get Work? -- Branding, Marketing and Sales? -- Branding -- Marketing -- Sales -- The Practicalities of Branding, Marketing and Sales -- CHAPTER SIX -- Managers -- What is the Definition of the Term "Manager"? -- What Does A Producer Manager Do? -- What Does A Manager Cost -- Do They Earn Their Percentage? -- How Do You Avoid Getting Ripped Off By Your Manager? -- Could You Lose Work To Other Producers On The Manager's Roster? -- How Do You Define 'Best Manager' For You? -- How Can You Find Such A Person? -- How Do You Persuade Them To Take You On? -- Business Managers -- CHAPTER SEVEN -- The Producer's Relationships -- With the artist? -- Best Friends? -- Able To Fit In? -- Hang After Hours? -- Professional or Aloof? -- How Do You Tell Them Something Is Not Working? -- Where Does Your Responsibility Lie? -- To The Artist -- To The Record Company -- To Yourself -- To The Project -- What About Drugs and Alcohol? -- In the Studio? -- Outside of Working Hours? -- What if the Artist Does and You Do Not? -- What Do You Do When The Artist Becomes Difficult? -- What Do You Do When The Record Company is Unhappy? -- What Do You Do When The Artist's Manager Is Difficult -- CHAPTER EIGHT -- Lawyers -- What Changed to Make Hiring Attorney Less Viable For Producers -- How Much Will They Cost You? -- How Much Do You Really Need Them? -- How Much Should You Depend On Them? -- What Happens When They Get It Wrong? -- What Other Kinds of Things Can Go Wrong? -- What is a Typical Legal Process Leading Up to the Production? -- What Can Be Done To Protect Producers? -- CHAPTER NINE -- Challenges and Controversies -- Differences of Opinion -- The Endless Album -- Lack of Vision -- Micro-Vision -- The Singer Is Not Performing Well -- The Musicians Are Not Performing Well -- One of the Musicians Is Messing Up Every Take -- What Is Demo-itis or Rough Mix-itis? -- Near the End of the Album, Suddenly the Artist is Having Doubts -- The A&R Person Does Not Like the Record -- What Makes It Seem Like Hard Work? -- How Much Loyalty Can You Expect Within The Business? -- From The Artist -- First Girlfriend Syndrome -- From The A&R Person -- Final Word on Loyalty -- CHAPTER TEN -- Success And Money -- How Are Producers Paid? -- How Much Can a Producer Make? -- How Are Producer Royalties Calculated? -- Recoupment -- Payment From Record One -- Where does the money come from? -- Digital Download Royalties -- Sound Recording Performance Royalties -- Producers Who Also Write the Songs -- Summation -- How Many Producers Make Millions? -- The Terms -- Do Producers Earn Their Percentage? -- Major versus Independent Labels -- How will producers make money in the future? -- Can You Increase Your Chances Of Success? -- Credits -- Executive Producer -- Album Producer -- Producer -- Co-producer -- Associate Producer -- Additional Production By -- Multiple Producer Credits -- Vocal Production or Vocals Produced By -- Compilation Soundtrack Album Producer -- Strings (or any other instrument) Produced By -- What Is The Secret To Longevity? -- Add entrepreneur to your portfolio -- CHAPTER ELEVEN -- Why Are There So Few Women Producers? -- What we know -- Women Producers Today -- Some Women Producers in History -- Inconclusive Conclusion -- CHAPTER TWELVE -- Frequently Asked Questions -- How Much Is Learned-- How Much Is Natural Ability? -- How Do You Pick The Right Project? -- Should You Share in Song Writing Royalties? -- New Versus Established Artists? -- What Is Involved In Being An Independent Or Freelance Producer? -- What About Being a Staff Producer? -- What Are The Best Moments? -- Can You Successfully Genre Hop? -- Advantages And Disadvantages -- Who Has Done It? -- How Stable is a Producer's Career? -- How does a production career end? -- Making Plans And When? -- What Do Producers Do When Work Starts to Slow Down? -- Why Do People Want To Produce Records? -- Why Do People Want To Make Records At All? -- Do You Know When You Have Produced A Hit? -- How Do Producers Feel About Remixers? -- What's The Remixer's Point Of View? -- How do A&R People View Remixes? -- What Is The 'Sophomore Slump'? -- Digital versus Analog -- CHAPTER THIRTEEN -- Working Outside The Mainstream? -- Classical -- Jazz -- Country -- Traditional, Folk, Roots And World Music -- Children's Music -- Regional Producers -- CHAPTER FOURTEEN -- Where Are We? How Did We Get Here? Where Are We Going? -- Will Mobile Modify the Internet That Crippled Cable But Vivified Video Which Killed the Radio Star? -- How Did We Get Here? -- The Revolution Continues -- What Does This Mean To The Professional Music Producer? -- Where Are We Going? -- Revenue Streams Are Multiplying -- Will We Even Need Labels In The Future? -- Charts -- Marketing -- Will Music Producers Survive The Revolution? -- CHAPTER FIFTEEN -- Conclusion -- What If -- The Final Cut -- Glossary -- Index -- About the Author -- Notes -- Bibliography.
  • (source: Nielsen Book Data)
Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published, " Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .B84 2013 Unknown
Book
283 pages : illustrations ; 24 cm
East Asia Library
Status of items at East Asia Library
East Asia Library Status
Chinese Collection
ML410 .Z513 B36 2013 Unknown
Book
x, 292 pages, 16 unnumbered pages of plates : illustrations ; 24 cm.
In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. A former performer herself, Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.
(source: Nielsen Book Data)
In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. A former performer herself, Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3790 .S346 2013 Unknown
Book
361 pages : color illustrations ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
HD9697 .P563 E263 2013 Available
Book
xv, 650 pages, 16 unnumbered pages of plates : illustrations (some color) ; 24 cm
The first official account of the iconic record label. An NME Book of the Year 2013 * A Rough Trade Book of the Year 2013 * A Times Literary Supplement Book of the Year 2013 This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance, Lisa Germano, Kristin Hersh, Belly, Red House Painters. Just a handful of the bands and artists who started out recording for 4AD, a record label founded by Ivo Watts-Russell and Peter Kent in 1979, a label which went on to be one of the most influential of the modern era. Combining the unique tastes of Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognisable by their look as much their sound. In this comprehensive account concentrating on the label's first two decades (up to the point that Watts-Russell left), music journalist Martin Aston explores the fascinating story with unique access to all the key players and pretty much every artist who released a record on 4AD during that time, and to its notoriously reclusive founder. With a cover designed by Vaughan Oliver this is an essential book for all 4AD fans and anyone who loved the music of that time.
(source: Nielsen Book Data)
The first official account of the iconic record label. An NME Book of the Year 2013 * A Rough Trade Book of the Year 2013 * A Times Literary Supplement Book of the Year 2013 This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance, Lisa Germano, Kristin Hersh, Belly, Red House Painters. Just a handful of the bands and artists who started out recording for 4AD, a record label founded by Ivo Watts-Russell and Peter Kent in 1979, a label which went on to be one of the most influential of the modern era. Combining the unique tastes of Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognisable by their look as much their sound. In this comprehensive account concentrating on the label's first two decades (up to the point that Watts-Russell left), music journalist Martin Aston explores the fascinating story with unique access to all the key players and pretty much every artist who released a record on 4AD during that time, and to its notoriously reclusive founder. With a cover designed by Vaughan Oliver this is an essential book for all 4AD fans and anyone who loved the music of that time.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3792 .A14 A88 2013 Unknown

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