781.49, Music--20th century--History and criticism, Sound--Recording and reproducing--History, Sound recording industry--Great Britain--History--20th century, Music--Recording and producing, Sound recording executives and producers--Great Britain, Musicians--20th century, and Performance practice (Music)--History--20th century
During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
Sound recording industry--Great Britain--History--20th century and Popular music--Great Britain--1961-1970--History and criticism
The Beatles, the Rolling Stones, the Kinks, the Who, and numerous other groups put Britain at the center of the modern musical map. Please Please Me offers an insider's view of the British pop-music recording industry during the seminal period of 1956 to 1968, based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain. Author Gordon Thompson weaves issues of class, age, professional status, gender, and ethnicity into his narrative, beginning with the rise of British beat groups and the emergence of teenagers as consumers in postwar Britain, and moving into the competition between performers and the recording industry for control over the music. He interviews musicians, songwriters, music directors, and producers and engineers who worked with the best-known performers of the era. Drawing his interpretation of the processes at work during this musical revolution into a wider context, Thompson unravels the musical change and innovation of the time with an eye on understanding what traces individuals leave in the musical and recording process.
338.4, Music radio, Record industry, Popular music production, Popular music Great Britain, Popular music radio stations Great Britain, Music trade Great Britain, Sound recording industry Great Britain, and Radio broadcasting Great Britain
Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.
Rough Trade Records -- History., Sound recording industry -- Great Britain -- History., and History.
"It is over 30 years ago now that the Rough Trade shop opened its doors to the public in Notting Hill, West London. Disco and soft-rock ruled the airwaves, The Clash had just signed to CBS and Geoff Travis set up the company with a group of friends as a communistic, DIY alternative to the increasingly stale mainstream. Over the ensuing years the Rough Trade Shop, Rough Trade Records and Rough Trade Distribution profoundly altered the landscape of modern music.". "Run with punk's revolutionary zeal, Rough Trade cast its net wide in its search for musical innovation, from French and Northern Irish punk rock to classic Jamaican dub. The label released many of the most important and enduring records of the 1980s by artists including: The Smiths, Scritti Politti, The Pop Group, The Raincoats, Galaxie 500, The Go-Betweens, Aztec Camera, Robert Wyatt, The Fall, Arthur Russell, Ivor Cutler and Linton Kwesi Johnson. Rough Trade looks back on three fascinating decades of innovation, noise and change, taking in ups and downs, twists and turns and some of the best music ever committed to vinyl."--BOOK JACKET.
Sound recording industry -- United States -- History., Sound recording industry -- Great Britain -- History., Music trade -- United States -- History., Music trade -- Great Britain -- History., and History.
"Where Have All The Good Times Gone? charts the decline of classical music, the emergence of 'high fidelity', LPs, stereo cassettes and, in 1982, the revolution that arrived with the compact disc. The 1990s ushered in a period of profound crisis and uncertainty in the industry, encapsulated in one word: Napster. Barfe shows how the almost infinite amounts of free music available online have traumatic and potentially disastrous implications for the industry."--BOOK JACKET.
Administrative assistants--Biography and Sound recording industry--Great Britain--20th century
Joseph Lockwood was born in poverty next to his grandfather's mill in Southwell Nottinghamshire; from there he went on to become a world expert and author of the standard textbook on flour milling. In mid-life he turned from managing and designing flour mills to becoming Chairman of EMI, ‘ The Greatest Recording Organisation in the World'. A much sought after public figure, businessman and government advisor, he played a major role in building the National Theatre, restoring the Royal Opera House, as well as sitting on the Arts Council and becoming Chairman of the Royal Ballet. For twenty years his good friend William Cavendish worked alongside Sir Joe, as he was always known, when Sir Joe was the Chairman of EMI, and the last record company to remain in British ownership. This book is the story of how this relationship developed, as Sir Joe's prestige brought him ever increasing influence in industry and the arts, while William remained by his side, quietly observing in the background.