Book
xi, 239 pages : illustrations, maps ; 23 cm.
  • Introduction 1. The South African Recording Industry 2. Recent Industry Developments 3. A Segmented Music Market and Attempts to Capture it 4. The Wholesaling and Retailing of Music 5. Negotiating Value in the Music Chain 6. Organizing Relationships in the Recording Industry 7. Continuities in Patronage Arrangements Conclusion.
  • (source: Nielsen Book Data)
Contracts, Patronage and Mediation studies the long-term developments in the South African recording industry. It adds to the existing literature an understanding of the prevalence of informal negotiations over rights, rewards and power in the recording industry. The book is original in that it uses several disciplines' approaches and methods. It combines a wide array of different industry participants' -often vividly expressed- views and experiences with statistical information and the existing literature's findings. The book argues that alongside the global contract model, in South Africa there exists another mode of organizing recording industry relationships, which is based on the patronage model. Furthermore, the book states that such features are probably not unique to South Africa, but can also be found in recording industries elsewhere, even though they have not previously been thoroughly investigated.
(source: Nielsen Book Data)
  • Introduction 1. The South African Recording Industry 2. Recent Industry Developments 3. A Segmented Music Market and Attempts to Capture it 4. The Wholesaling and Retailing of Music 5. Negotiating Value in the Music Chain 6. Organizing Relationships in the Recording Industry 7. Continuities in Patronage Arrangements Conclusion.
  • (source: Nielsen Book Data)
Contracts, Patronage and Mediation studies the long-term developments in the South African recording industry. It adds to the existing literature an understanding of the prevalence of informal negotiations over rights, rewards and power in the recording industry. The book is original in that it uses several disciplines' approaches and methods. It combines a wide array of different industry participants' -often vividly expressed- views and experiences with statistical information and the existing literature's findings. The book argues that alongside the global contract model, in South Africa there exists another mode of organizing recording industry relationships, which is based on the patronage model. Furthermore, the book states that such features are probably not unique to South Africa, but can also be found in recording industries elsewhere, even though they have not previously been thoroughly investigated.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3790 .P54 2015 Unknown
Book
112 pages : illustrations (some color) ; 26 cm
Bob Dylan bucked executives at his record label and surprised his fans when he came to Nashville in 1966 to record his classic album Blonde on Blonde. Working with the city's unmatched session musicians, Dylan produced a rock and roll masterpiece and went on to record two more albums there. Dylan's embrace of Nashville and its musicians-the Nashville Cats-inspired many other artists, among them Neil Young, Joan Baez, and Leonard Cohen, to follow him to Music City. Around the same time, Johnny Cash was recruiting folk and rock musicians-including Dylan-to appear on his groundbreaking network television show, The Johnny Cash Show, shot at the Ryman Auditorium, home of the Grand Ole Opry. This companion book to the exhibit Dylan, Cash, and the Nashville Cats: A New Music City looks at the Nashville music scene in the late 1960s and early 1970s, a time of great cultural vitality for Music City.
(source: Nielsen Book Data)
Bob Dylan bucked executives at his record label and surprised his fans when he came to Nashville in 1966 to record his classic album Blonde on Blonde. Working with the city's unmatched session musicians, Dylan produced a rock and roll masterpiece and went on to record two more albums there. Dylan's embrace of Nashville and its musicians-the Nashville Cats-inspired many other artists, among them Neil Young, Joan Baez, and Leonard Cohen, to follow him to Music City. Around the same time, Johnny Cash was recruiting folk and rock musicians-including Dylan-to appear on his groundbreaking network television show, The Johnny Cash Show, shot at the Ryman Auditorium, home of the Grand Ole Opry. This companion book to the exhibit Dylan, Cash, and the Nashville Cats: A New Music City looks at the Nashville music scene in the late 1960s and early 1970s, a time of great cultural vitality for Music City.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
ML3524 .D95 2015 Unknown

3. Eco-sonic media [2015]

Book
vii, 254 pages : illustrations ; 23 cm
  • Acknowledgments Introduction 1. Green Discs 2. Birdland Melodies 3. Subterranean Signals 4. Radio's Dark Ecology The Run-Out Groove Index.
  • (source: Nielsen Book Data)
The negative environmental effects of media culture are not often acknowledged: the fuel required to keep huge server farms in operation, landfills full of high tech junk, and the extraction of rare minerals for devices reliant on them are just some of the hidden costs of the contemporary mediascape. Eco-Sonic Media brings an ecological critique to the history of sound media technologies in order to amplify the environmental undertones in sound studies and turn up the audio in discussions of greening the media. By looking at early and neglected forms of sound technology, Jacob Smith seeks to create a revisionist, ecologically aware history of sound media. Delving into the history of pre-electronic media like hand-cranked gramophones, comparatively eco-friendly media artifacts such as the shellac discs that preceded the use of petroleum-based vinyl, early forms of portable technology like divining rods, and even the use of songbirds as domestic music machines, Smith builds a scaffolding of historical case studies to demonstrate how green media archaeology" can make sound studies vibrate at an ecological frequency while opening the ears of eco-criticism. Throughout this eye-opening and timely book he makes readers more aware of the costs and consequences of their personal media consumption by prompting comparisons with non-digital, non-electronic technologies and by offering different ways in which sound media can become eco-sonic media. In the process, he forges interdisciplinary connections, opens new avenues of research, and poses fresh theoretical questions for scholars and students of media, sound studies, and contemporary environmental history.
(source: Nielsen Book Data)
  • Acknowledgments Introduction 1. Green Discs 2. Birdland Melodies 3. Subterranean Signals 4. Radio's Dark Ecology The Run-Out Groove Index.
  • (source: Nielsen Book Data)
The negative environmental effects of media culture are not often acknowledged: the fuel required to keep huge server farms in operation, landfills full of high tech junk, and the extraction of rare minerals for devices reliant on them are just some of the hidden costs of the contemporary mediascape. Eco-Sonic Media brings an ecological critique to the history of sound media technologies in order to amplify the environmental undertones in sound studies and turn up the audio in discussions of greening the media. By looking at early and neglected forms of sound technology, Jacob Smith seeks to create a revisionist, ecologically aware history of sound media. Delving into the history of pre-electronic media like hand-cranked gramophones, comparatively eco-friendly media artifacts such as the shellac discs that preceded the use of petroleum-based vinyl, early forms of portable technology like divining rods, and even the use of songbirds as domestic music machines, Smith builds a scaffolding of historical case studies to demonstrate how green media archaeology" can make sound studies vibrate at an ecological frequency while opening the ears of eco-criticism. Throughout this eye-opening and timely book he makes readers more aware of the costs and consequences of their personal media consumption by prompting comparisons with non-digital, non-electronic technologies and by offering different ways in which sound media can become eco-sonic media. In the process, he forges interdisciplinary connections, opens new avenues of research, and poses fresh theoretical questions for scholars and students of media, sound studies, and contemporary environmental history.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
P96 .S66 S64 2015 Unknown
Book
xiv, 357 pages : illustrations (some color) ; 27 cm
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .M3525 2015 Unavailable In process Request
Book
296 pages ; 24 cm
A story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. Journalist Stephen Witt traces the history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a book that depicts the moment in history when ordinary life became forever entwined with the world online -- when, suddenly, all the music ever recorded was available for free. Witt introduces the unforgettable characters -- inventors, executives, factory workers, and smugglers -- who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.
A story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. Journalist Stephen Witt traces the history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a book that depicts the moment in history when ordinary life became forever entwined with the world online -- when, suddenly, all the music ever recorded was available for free. Witt introduces the unforgettable characters -- inventors, executives, factory workers, and smugglers -- who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.
Law Library (Crown)
Status of items at Law Library (Crown)
Law Library (Crown) Status
Basement
ML3790 .W59 2015 Unknown
Book
296 pages ; 24 cm
Business Library
Status of items at Business Library
Business Library Status
Stacks
ML3790 .W59 2015 Unknown
Book
296 pages ; 24 cm
A riveting story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. It's about the greatest pirate in history, the most powerful executive in the music business, a revolutionary invention and an illegal website four times the size of the iTunes Music Store. Journalist Stephen Witt traces the secret history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a thrilling book that depicts the moment in history when ordinary life became forever entwined with the world online--when, suddenly, all the music ever recorded was available for free. Witt introduces the unforgettable characters--inventors, executives, factory workers, and smugglers--who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.--From publisher description.
A riveting story of obsession, music, crime, and money, featuring visionaries and criminals, moguls and tech-savvy teenagers. It's about the greatest pirate in history, the most powerful executive in the music business, a revolutionary invention and an illegal website four times the size of the iTunes Music Store. Journalist Stephen Witt traces the secret history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet. Through these interwoven narratives, Witt has written a thrilling book that depicts the moment in history when ordinary life became forever entwined with the world online--when, suddenly, all the music ever recorded was available for free. Witt introduces the unforgettable characters--inventors, executives, factory workers, and smugglers--who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.--From publisher description.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .W59 2015 Unknown
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
vi, 289 pages : illustrations ; 24 cm
  • Table of Contents List of Illustrations Acknowledgements Introduction: Living Stereo (Paul Th berge, Kyle Devine and Tom Everrett) (AUDIO) POSITIONS 1. The "Sweet Spot": The Technology of Stereo and the Field of Auditorship (Tony Grajeda) 2. The Stereophonic Spaces of Soundscape (Jonathan Sterne) 3. Sonar and the Channelization of the Ocean (John Shiga) LISTENING CULTURES 4. Training the Listener: Stereo Demonstration Discs in an Emerging Consumer Market (Tim J. Anderson) 5. Mono in the Stereo Age (Eric Barry) 6. Looking Past the Stereo Loudspeakers: From the Home to the Amplified Concert Hall (Jonathan Tee) 7. Recorded British Folk Song (Allan F. Moore) MULTICHANNEL SOUND and SCREEN MEDIA 8. Television: Now with Two Channels of Audio (David Sedman) 9. The Grandeur(s) of CinemaScope (Matthew Malsky) 10. Atmos Now: Dolby Laboratories, Mixing Ideology and Hollywood Sound Production (Benjamin Wright) 11. A Symphony of Sound: Surround Sound in Formula One Racing Games (Ruth Dockwray and Karen Collins) List of Contributors Index.
  • (source: Nielsen Book Data)
Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.
(source: Nielsen Book Data)
  • Table of Contents List of Illustrations Acknowledgements Introduction: Living Stereo (Paul Th berge, Kyle Devine and Tom Everrett) (AUDIO) POSITIONS 1. The "Sweet Spot": The Technology of Stereo and the Field of Auditorship (Tony Grajeda) 2. The Stereophonic Spaces of Soundscape (Jonathan Sterne) 3. Sonar and the Channelization of the Ocean (John Shiga) LISTENING CULTURES 4. Training the Listener: Stereo Demonstration Discs in an Emerging Consumer Market (Tim J. Anderson) 5. Mono in the Stereo Age (Eric Barry) 6. Looking Past the Stereo Loudspeakers: From the Home to the Amplified Concert Hall (Jonathan Tee) 7. Recorded British Folk Song (Allan F. Moore) MULTICHANNEL SOUND and SCREEN MEDIA 8. Television: Now with Two Channels of Audio (David Sedman) 9. The Grandeur(s) of CinemaScope (Matthew Malsky) 10. Atmos Now: Dolby Laboratories, Mixing Ideology and Hollywood Sound Production (Benjamin Wright) 11. A Symphony of Sound: Surround Sound in Formula One Racing Games (Ruth Dockwray and Karen Collins) List of Contributors Index.
  • (source: Nielsen Book Data)
Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
TK7881.4 .L57 2015 Unknown
Book
x, 221 pages : illustrations ; 25 cm.
  • Contents: Introduction: music, material culture and archaeologies-- Sarah Records (1987-1995) and the everyday-- Ghost Box Records (2004-): materiality, technological mediation and the birth of ghosts-- From collecting to curating and reissuing the recorded past: Finders Keepers (2004-) and reissue record labels-- YouTube archivists, e-collectors and digital flaneurs: the internet and the future of phonography-- Conclusion: the afterlife of music objects-- Select bibliography-- Index.
  • (source: Nielsen Book Data)
Media, Materiality and Memory: Grounding the Groove examines the entwinement of material music objects, technology and memory in relation to a range of independent record labels, including Sarah Records, Ghost Box and Finders Keepers. Moving from Edison's phonograph to digital music files, from record collections to online archives, Roy argues that materiality plays a crucial role in constructing and understanding the territory of recorded sound. With its innovative theoretical approach, the book explores the implications of materialisation in the fashioning of a musical world and its cultural transmission. A substantial contribution to the field of music and material culture studies, Media, Materiality and Memory also provides a nuanced and timely reflection on nostalgia and forgetting in the digital age.
(source: Nielsen Book Data)
  • Contents: Introduction: music, material culture and archaeologies-- Sarah Records (1987-1995) and the everyday-- Ghost Box Records (2004-): materiality, technological mediation and the birth of ghosts-- From collecting to curating and reissuing the recorded past: Finders Keepers (2004-) and reissue record labels-- YouTube archivists, e-collectors and digital flaneurs: the internet and the future of phonography-- Conclusion: the afterlife of music objects-- Select bibliography-- Index.
  • (source: Nielsen Book Data)
Media, Materiality and Memory: Grounding the Groove examines the entwinement of material music objects, technology and memory in relation to a range of independent record labels, including Sarah Records, Ghost Box and Finders Keepers. Moving from Edison's phonograph to digital music files, from record collections to online archives, Roy argues that materiality plays a crucial role in constructing and understanding the territory of recorded sound. With its innovative theoretical approach, the book explores the implications of materialisation in the fashioning of a musical world and its cultural transmission. A substantial contribution to the field of music and material culture studies, Media, Materiality and Memory also provides a nuanced and timely reflection on nostalgia and forgetting in the digital age.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .R68 2015 Unavailable In process Request
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 Unavailable Checked out - Overdue Request
Book
223 pages : ill. ; 26 x 26 cm
In 2011, Mike Spitz began photographing more than 40 record stores in and around the greater Los Angeles area, rich with old and new record shops, to capture the lively experience of going to the used record store, discovering that rare vinyl record, cassette or 8-track tape, memorabilia, vintage concert posters, turntables, nostalgia and other music-related gems. Colorful imagery shot on film and in-depth interviews with store owners illustrate how each American independent record store has a unique and vibrant culture that cultivates a communal gathering place for human interaction, exploration and discovery. In chronological order from the oldest existing stores, such as Canterbury Records that opened in 1956 in Pasadena or Music Man Murray Records that opened in 1962, to the most recently opened stores, The Record Store Book respectfully marks the "changing of the guard" from the older to the newer generation of stores as each owner shares facts, store history, and distinctive points of view regarding how people search for, find and appreciate music.
(source: Nielsen Book Data)
In 2011, Mike Spitz began photographing more than 40 record stores in and around the greater Los Angeles area, rich with old and new record shops, to capture the lively experience of going to the used record store, discovering that rare vinyl record, cassette or 8-track tape, memorabilia, vintage concert posters, turntables, nostalgia and other music-related gems. Colorful imagery shot on film and in-depth interviews with store owners illustrate how each American independent record store has a unique and vibrant culture that cultivates a communal gathering place for human interaction, exploration and discovery. In chronological order from the oldest existing stores, such as Canterbury Records that opened in 1956 in Pasadena or Music Man Murray Records that opened in 1962, to the most recently opened stores, The Record Store Book respectfully marks the "changing of the guard" from the older to the newer generation of stores as each owner shares facts, store history, and distinctive points of view regarding how people search for, find and appreciate music.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .S725 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
379 pages : illustrations ; 24 cm
  • Vorwort : von Hans Nieswandt
  • Intro
  • In Den Klang
  • Jetzt und für immer : Einleitung
  • Ein amerikanischer Kuss : Thomas Alva Edisons Kuss-Loop und die Form der technischen Wiederholung
  • Wenn man dasselbe Ding wiederholt, wird es Musik : Pierre Schaeffer und die französische musique concrète
  • "Wir werden die Klänge regieren!" : Karlheinz Stockhausen und die Musik aus den Klanglaboren
  • Der Prothesengott : Elvis Presley und der Belcanto aus der Maschine
  • Musik-Ingenieure : Raymond Scott, ein Instrumentenbauer des 20. Jahrhunderts
  • In Den Rhythmus
  • Die "präzise, unprätentiöse und einfache" Reihung : Peter Roehrs Filmmontagen und der "Wille zur Wiederholung" in der Kultur der 60er Jahre
  • Zennish? That's a good word! : La Monte Young, Andy Warhol und das Stillhalten der Zeit
  • Das Sammeln der aufgehaltenen Zeit : Terry Riley und die Geburt der Minimal Music aus dem Geist der Tonbandschleife
  • "Es ist vollkommen klar, was passiert, aber man kann trotzdem nicht folgen" : Steve Reichs frühe Kompositionen und die Selbsttätigkeit der Technologie
  • Diese Maschine zerstört Autorensubjektivität : Ken Kesey, Psychedelia und die Schleifen des großen Hier und Jetzt
  • Paul McCartney geht zu weit : die Beatles und die Schleifen in der Plastiktüte
  • Die Maschine zu einer schlampigen Maschine machen : Donna Summer, Giorgio Moroder und I Feel Love
  • Im Rhythmus bleiben : Loops und die Homöostase der Moderne
  • Reprise : da capo ad infinitum
  • Widmungen
  • Bibliographie
  • Bildnachweise
  • Register.
  • Vorwort : von Hans Nieswandt
  • Intro
  • In Den Klang
  • Jetzt und für immer : Einleitung
  • Ein amerikanischer Kuss : Thomas Alva Edisons Kuss-Loop und die Form der technischen Wiederholung
  • Wenn man dasselbe Ding wiederholt, wird es Musik : Pierre Schaeffer und die französische musique concrète
  • "Wir werden die Klänge regieren!" : Karlheinz Stockhausen und die Musik aus den Klanglaboren
  • Der Prothesengott : Elvis Presley und der Belcanto aus der Maschine
  • Musik-Ingenieure : Raymond Scott, ein Instrumentenbauer des 20. Jahrhunderts
  • In Den Rhythmus
  • Die "präzise, unprätentiöse und einfache" Reihung : Peter Roehrs Filmmontagen und der "Wille zur Wiederholung" in der Kultur der 60er Jahre
  • Zennish? That's a good word! : La Monte Young, Andy Warhol und das Stillhalten der Zeit
  • Das Sammeln der aufgehaltenen Zeit : Terry Riley und die Geburt der Minimal Music aus dem Geist der Tonbandschleife
  • "Es ist vollkommen klar, was passiert, aber man kann trotzdem nicht folgen" : Steve Reichs frühe Kompositionen und die Selbsttätigkeit der Technologie
  • Diese Maschine zerstört Autorensubjektivität : Ken Kesey, Psychedelia und die Schleifen des großen Hier und Jetzt
  • Paul McCartney geht zu weit : die Beatles und die Schleifen in der Plastiktüte
  • Die Maschine zu einer schlampigen Maschine machen : Donna Summer, Giorgio Moroder und I Feel Love
  • Im Rhythmus bleiben : Loops und die Homöostase der Moderne
  • Reprise : da capo ad infinitum
  • Widmungen
  • Bibliographie
  • Bildnachweise
  • Register.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML1380 .B38 2015 Unavailable In process Request
Book
x, 338 pages ; 24 cm
  • Hook: The bliss point. You spin me round ; A continuity of hits
  • First verse: Cheiron : Mr. Pop: and the Metalhead. Inside the box ; "The sign" ; Big Poppa ; Martin Sandberg's terrible secret ; Britney Spears : hit me baby ; "I want it that way"
  • Chorus The money note : the ballad of Kelly and Clive. My ancestral hit parade ; The dragon's teeth ; The doldrums ; American Idol ; "Since u been gone"
  • Second verse: Factory girls : cultural technology and the making of K-pop. "Gee"
  • Chorus: Rihanna : track-and-hook. "Umbrella" ; "Ester Dean: On the hook" ; Stargate: those lanky Norwegian dudes ; "Rude boy"
  • Bridge: Dr. Luke : teenage dream. Speed chess ; Katy Perry : altar call ; Melodic math ; Kesha : teenage nightmare
  • Chorus: Spotify. The moment space
  • Outro: Songworm. "Roar".
Over the last two decades a new type of hit song has emerged, one that is almost inescapably catchy. Pop songs have always had a "hook, " but today's songs bristle with them: a hook every seven seconds is the rule. Painstakingly crafted to tweak the brain's delight in melody, rhythm, and repetition, these songs are highly processed products. Like snack-food engineers, modern songwriters have discovered the musical "bliss point." And just like junk food, the bliss point leaves you wanting more. In The Song Machine, longtime New Yorker staff writer John Seabrook tells the story of the massive cultural upheaval that produced these new, super-strength hits. Seabrook takes us into a strange and surprising world, full of unexpected and vivid characters, as he traces the growth of this new approach to hit-making from its obscure origins in early 1990s Sweden to its dominance of today's Billboard charts. Journeying from New York to Los Angeles, Stockholm to Korea, Seabrook visits specialized teams composing songs in digital labs with new "track-and-hook" techniques. The stories of artists like Katy Perry, Britney Spears, and Rihanna, as well as expert songsmiths like Max Martin, Stargate, Ester Dean, and Dr. Luke, The Song Machine shows what life is like in an industry that has been catastrophically disrupted-spurring innovation, competition, intense greed, and seductive new products. Going beyond music to discuss money, business, marketing, and technology, The Song Machine explores what the new hits may be doing to our brains and listening habits, especially as services like Spotify and Apple Music use streaming data to gather music into new genres invented by algorithms based on listener behavior. Fascinating, revelatory, and original, The Song Machine will change the way you listen to music.
(source: Nielsen Book Data)
  • Hook: The bliss point. You spin me round ; A continuity of hits
  • First verse: Cheiron : Mr. Pop: and the Metalhead. Inside the box ; "The sign" ; Big Poppa ; Martin Sandberg's terrible secret ; Britney Spears : hit me baby ; "I want it that way"
  • Chorus The money note : the ballad of Kelly and Clive. My ancestral hit parade ; The dragon's teeth ; The doldrums ; American Idol ; "Since u been gone"
  • Second verse: Factory girls : cultural technology and the making of K-pop. "Gee"
  • Chorus: Rihanna : track-and-hook. "Umbrella" ; "Ester Dean: On the hook" ; Stargate: those lanky Norwegian dudes ; "Rude boy"
  • Bridge: Dr. Luke : teenage dream. Speed chess ; Katy Perry : altar call ; Melodic math ; Kesha : teenage nightmare
  • Chorus: Spotify. The moment space
  • Outro: Songworm. "Roar".
Over the last two decades a new type of hit song has emerged, one that is almost inescapably catchy. Pop songs have always had a "hook, " but today's songs bristle with them: a hook every seven seconds is the rule. Painstakingly crafted to tweak the brain's delight in melody, rhythm, and repetition, these songs are highly processed products. Like snack-food engineers, modern songwriters have discovered the musical "bliss point." And just like junk food, the bliss point leaves you wanting more. In The Song Machine, longtime New Yorker staff writer John Seabrook tells the story of the massive cultural upheaval that produced these new, super-strength hits. Seabrook takes us into a strange and surprising world, full of unexpected and vivid characters, as he traces the growth of this new approach to hit-making from its obscure origins in early 1990s Sweden to its dominance of today's Billboard charts. Journeying from New York to Los Angeles, Stockholm to Korea, Seabrook visits specialized teams composing songs in digital labs with new "track-and-hook" techniques. The stories of artists like Katy Perry, Britney Spears, and Rihanna, as well as expert songsmiths like Max Martin, Stargate, Ester Dean, and Dr. Luke, The Song Machine shows what life is like in an industry that has been catastrophically disrupted-spurring innovation, competition, intense greed, and seductive new products. Going beyond music to discuss money, business, marketing, and technology, The Song Machine explores what the new hits may be doing to our brains and listening habits, especially as services like Spotify and Apple Music use streaming data to gather music into new genres invented by algorithms based on listener behavior. Fascinating, revelatory, and original, The Song Machine will change the way you listen to music.
(source: Nielsen Book Data)
Business Library
Status of items at Business Library
Business Library Status
Stacks
ML3790 .S382 2015 Unknown
Book
x, 338 pages ; 24 cm
  • Hook: The bliss point. You spin me round
  • A continuity of hits
  • First verse: Cheiron : Mr. Pop: and the Metalhead. Inside the box ; "The sign"
  • Big Poppa ; Martin Sandberg's terrible secret
  • Britney Spears : hit me baby
  • "I want it that way"
  • Chorus: The money note: the ballad of Kelly and Clive. My ancestral hit parade
  • The dragon's teeth
  • The doldrums
  • American Idol
  • "Since u been gone"
  • Second verse: Factory girls : cultural technology and the making of K-pop. "Gee"
  • Chorus: Rihanna : track-and-hook. "Umbrella"
  • "Ester Dean: On the hook"
  • Stargate: those lanky Norwegian dudes
  • "Rude boy"
  • Bridge: Dr. Luke : teenage dream. Speed chess ; Katy Perry : altar call ; Melodic math ; Kesha : teenage nightmare
  • Chorus: Spotify. The moment space
  • Outro: Songworm. "Roar".
There's a reason hit songs offer such guilty pleasure--they're designed that way. Over the last two decades a new type of hit song has emerged, one that is almost inescapably catchy. Pop songs have always had a "hook, " but today's songs bristle with them: a hook every seven seconds is the rule. Painstakingly crafted to tweak the brain's delight in melody, rhythm, and repetition, these songs are highly processed products. Like snack-food engineers, modern songwriters have discovered the musical "bliss point." And just like junk food, the bliss point leaves you wanting more. In The Song Machine, longtime New Yorker staff writer John Seabrook tells the story of the massive cultural upheaval that produced these new, super-strength hits. Seabrook takes us into a strange and surprising world, full of unexpected and vivid characters, as he traces the growth of this new approach to hit-making from its obscure origins in early 1990s Sweden to its dominance of today's Billboard charts. Going beyond music to discuss money, business, marketing, and technology, The Song Machine explores what the new hits may be doing to our brains and listening habits, especially as services like Spotify and Apple Music use streaming data to gather music into new genres invented by algorithms based on listener behavior. Revelatory and original, this book will change the way you listen to music.--Adapted from book jacket.
  • Hook: The bliss point. You spin me round
  • A continuity of hits
  • First verse: Cheiron : Mr. Pop: and the Metalhead. Inside the box ; "The sign"
  • Big Poppa ; Martin Sandberg's terrible secret
  • Britney Spears : hit me baby
  • "I want it that way"
  • Chorus: The money note: the ballad of Kelly and Clive. My ancestral hit parade
  • The dragon's teeth
  • The doldrums
  • American Idol
  • "Since u been gone"
  • Second verse: Factory girls : cultural technology and the making of K-pop. "Gee"
  • Chorus: Rihanna : track-and-hook. "Umbrella"
  • "Ester Dean: On the hook"
  • Stargate: those lanky Norwegian dudes
  • "Rude boy"
  • Bridge: Dr. Luke : teenage dream. Speed chess ; Katy Perry : altar call ; Melodic math ; Kesha : teenage nightmare
  • Chorus: Spotify. The moment space
  • Outro: Songworm. "Roar".
There's a reason hit songs offer such guilty pleasure--they're designed that way. Over the last two decades a new type of hit song has emerged, one that is almost inescapably catchy. Pop songs have always had a "hook, " but today's songs bristle with them: a hook every seven seconds is the rule. Painstakingly crafted to tweak the brain's delight in melody, rhythm, and repetition, these songs are highly processed products. Like snack-food engineers, modern songwriters have discovered the musical "bliss point." And just like junk food, the bliss point leaves you wanting more. In The Song Machine, longtime New Yorker staff writer John Seabrook tells the story of the massive cultural upheaval that produced these new, super-strength hits. Seabrook takes us into a strange and surprising world, full of unexpected and vivid characters, as he traces the growth of this new approach to hit-making from its obscure origins in early 1990s Sweden to its dominance of today's Billboard charts. Going beyond music to discuss money, business, marketing, and technology, The Song Machine explores what the new hits may be doing to our brains and listening habits, especially as services like Spotify and Apple Music use streaming data to gather music into new genres invented by algorithms based on listener behavior. Revelatory and original, this book will change the way you listen to music.--Adapted from book jacket.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .S382 2015 Unavailable On order Request
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
256 pages : illustrations (some color) ; 26 cm
Vinyl: The Art of Making Records is a celebration of the medium's fascinating history and triumphant rebirth. From weighty 78s to feisty 45s, from eccentric Eps to legendary long-players, it brings vinyl off the shelves and out of the crates. The book will spotlight the development of the discs themselves; pioneering lalles such as Columbia, RCA Victor and Atlantic; ground-breaking artists and their game-changing releases such as Sgt Pepper by the Beatles, the Sex Pistols, Pink Floyd and Pearl Jam; the idiosyncratic and iconic packaging developed by daring designers and the special collectors editions like messages scratched in run-out grooves, limited editions, picture discs and deluxe reissues.
(source: Nielsen Book Data)
Vinyl: The Art of Making Records is a celebration of the medium's fascinating history and triumphant rebirth. From weighty 78s to feisty 45s, from eccentric Eps to legendary long-players, it brings vinyl off the shelves and out of the crates. The book will spotlight the development of the discs themselves; pioneering lalles such as Columbia, RCA Victor and Atlantic; ground-breaking artists and their game-changing releases such as Sgt Pepper by the Beatles, the Sex Pistols, Pink Floyd and Pearl Jam; the idiosyncratic and iconic packaging developed by daring designers and the special collectors editions like messages scratched in run-out grooves, limited editions, picture discs and deluxe reissues.
(source: Nielsen Book Data)
Archive of Recorded Sound
Status of items at Archive of Recorded Sound
Archive of Recorded Sound Status
Stacks
ML3790 .E83 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
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
Stacks
ML3790 .M665 2014 Unavailable In transit Request

Looking for different results?

Modify your search: Remove limit(s) Search all fields

Search elsewhere: Search WorldCat Search library website