Book
xiv, 208 pages : illustrations ; 24 cm.
  • Introduction : music commodities and value discourses in India
  • Prestige and innovation in the Indian music industry
  • "Is se kuch sasta hai?" : music commodities, circulation, and value in Indian markets
  • Experiencing the brand, branding the experience
  • Putting music in its place : merchandising in space and time
  • Music, passion, knowledge : music retail and affective labor
  • Conclusion : music stores in the age of mobile phones.
Green Library
Book
277 pages : illustrations ; 23 cm
  • Der Mythos von der postindustriellen Welt / Werner Plumpe und Andre Steiner
  • Abschied von der Industrie? : Wirtschaftlicher Strukturwandel in West- und Ostdeutschland seit den 1960er Jahren / André Steiner
  • Eine alte Industrie vor neuen Herausforderungen Aufbrüche und Niedergänge im ost- und westdeutschen Maschinenbau seit den 1960er Jahren / Ralf Ahrens
  • "Die nicht-kreativen Hintergründe liefern" Tonträgerindustrien in Ost- und Westdeutschland im Strukturwandel der 1950er bis 1980er Jahre / Christian A. Müller
  • Urlaub von der Stange Reiseveranstalter und der Wandel des Pauschaltourismus in beiden deutschen Staaten (1960-1990) / Jr̲g Lesczenski
  • Literatur
  • Autoren.
SAL3 (off-campus storage)
Book
xxii, 258 pages, 16 unnumbered pages of plates : illustrations (some color) ; 23 cm
  • Acknowledgements Introduction Chapter One: Songs of Innocence and Inexperience: The Roots of Sarah Chapter Two: "Let's Just Communicate!": The 1980s Fanzine Underground Chapter Three: "How Much Do One Thousand Flexidiscs Weigh?": When Matt Met Clare Chapter Four: "Come to My World": The Sea Urchins and the Beginning of Sarah Chapter Five: "A Constant Source of Bemusement and Wonder": The Orchids Chapter Six: "Another Fucking Harvey Band": The Ubiquitous Harvey Williams Chapter Seven: "Sarah Records Unequivocally Supports a Fully Integrated Light-Rail Rapid-Transit System for the Greater Bristol Area": Expressions of Civic Pride Chapter Eight: "A Diary of Sorts": The Field Mice, Northern Picture Library, and the Quicksilver Bobby Wratten Chapter Nine: "I Sometimes Feel So Lost": Brighter Chapter Ten: Safe Harbour: The Wake and The Hit Parade Chapter Eleven: "I Am Telling You Because You Are Far Away": Internationalism and Sarah's Written Communiques Chapter Twelve: "Atta Girl": Heavenly, Riot Grrrl and Feminism Chapter Thirteen: Sadness is Unisex": Blueboy and "the Best Album" Sarah Released Chapter Fourteen: An Economy of Ambition: Sarah's Short-Term Visitors Chapter Fifteen: "We Had an Outsider's Perspective": Sarah's Foreign Visitors Chapter Sixteen: "A Day for Destroying Things...": The End of Sarah Chapter Seventeen: The Afterlife of Sarah The Sarah Discography Index.
  • (source: Nielsen Book Data)9781628922189 20160619
From 1987 to 1995, Bristol, England's Sarah Records was a modest underground success and, for the most part, a critical laughingstock in its native country-sneeringly dismissed as the sad, final repository for a fringe style of music (variously referred to as "indie-pop, " "C86, " "cutie" and "twee") whose moment had passed. Yet now, more than 20 years after its founders symbolically "destroyed" it, Sarah is among the most passionately fetishized record labels of all time. Its rare releases command hundreds of dollars, devotees around the world hungrily seek out any information they can find about its poorly documented history, and young musicians-some of them not yet born when Sarah shut down-claim its bands (such as Blueboy, the Field Mice, Heavenly, and the Wake) as major influences. Featuring dozens of exclusive interviews with the music-makers, producers, writers and assorted eyewitnesses who played a part in Sarah's eight-year odyssey, Popkiss: The Life and Afterlife of Sarah Records is the first authorised biography of an unlikely cult legend.
(source: Nielsen Book Data)9781628922189 20160619
Archive of Recorded Sound
Book
xx, 471 pages : illustrations ; 24 cm
  • Marketing concepts
  • Markets, market segmentation, and consumber behavior
  • Market research
  • Branding in the music business
  • Marketing plan
  • Industry numbers
  • Label operations
  • Record label finances
  • Publicity
  • Social media
  • The business of radio
  • Promotion, airplay, and the charts
  • Music video
  • Distribution and retail
  • Technology
  • Tour support and sponsorship
  • Grassroots
  • Advertising.
Record Label Marketing, Third Edition is the essential resource to help you understand how recorded music is professionally marketed. Fully updated to reflect current trends in the industry, this edition is designed to benefit marketing professionals, music business students, and independent artists alike. As with previous editions, the third edition is accessible for readers new to marketing or to the music business. The book addresses classic marketing concepts while providing examples that are grounded in industry practice. Armed with this book, you'll master the jargon, concepts, and language to understand how music companies brand and market artists in the digital era. Features new to this edition include: * Social media strategies including step-by-step tactics used by major and independent labels are presented in a new section contributed by Ariel Hyatt, owner of CYBER PR. An in-depth look at SoundScan and other big data matrices used as tools by all entities in the music business. * An exploration of the varieties of branding with particular attention paid to the impact of branding to the artist and the music business in a new chapter contributed by Tammy Donham, former Vice President of the Country Music Association. * The robust companion website, focalpress.com/cw/macy, features weblinks, exercises, and suggestions for further reading. Instructor resources include PowerPoint lecture outlines, a test bank, and suggested lesson plans.
(source: Nielsen Book Data)9780415715157 20160619
Archive of Recorded Sound
Book
477 pages ; 21 cm.
SAL3 (off-campus storage)
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)9781137562319 20160619
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)9781137562319 20160619
Green Library
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)9780915608249 20160618
Green Library

8. 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)9780520286146 20160618
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)9780520286146 20160618
Green Library
Book
xiv, 357 pages : illustrations (some color) ; 27 cm
Archive of Recorded Sound
Book
296 pages ; 24 cm
Business Library
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.
Law Library (Crown)
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.
Music Library
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)9781442240131 20160618
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)9781442240131 20160618
Archive of Recorded Sound
Book
112 pages : illustrations (many color), color map, portraits (some color), plans, facsimiles (some color) ; 24 cm.
SAL3 (off-campus storage)
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)9781623566654 20160618
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)9781623566654 20160618
Archive of Recorded Sound
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)9781472459480 20160619
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)9781472459480 20160619
Archive of Recorded Sound
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.
Music Library
Book
xi, 223 pages : color illustrations ; 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)9781940207650 20160618
Archive of Recorded Sound
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)9781446210857 20160618
"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)9781446210857 20160618
Music Library
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.
Music Library

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