The Bloomsbury Handbook Of Music Production (bloomsbury Handbooks)

The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices - organization, recording, desktop production, post-production and distribution - this edited collection looks at production as it has developed around the world. In addition, rather than isolating issues such as gender, race and sexuality in separate chapters, these points are threaded throughout the entire text. Contents List of Figures List of Tables Notes on Contributors Introduction • Andrew Bourbon and Simon Zagorski-Thomas Part I: Background 1 Recorded Music • Simon Zagorski-Thomas 2 Authenticity in Music Production • Mike Alleyne 3 How to Study Record Production • Carlo Nardi Part II: Technology 4 From Tubes to Transistors: Developments in Recording Technology up to 1970 • Albin Zak III 5 Transitions: The History of Recording Technology from 1970 to the Present • Paul Théberge 6 How Does Vintage Equipment Fit into a Modern Working Process? • Anthony Meynell Part III: Places 7 Recording Studios in the First Half of the Twentieth Century • Susan Schmidt Horning 8 Recording Studios since 1970 • Eliot Bates Part IV: Organizing the Production Process 9 Information, (Inter)action and Collaboration in Record Production Environments • M. Nyssim Lefford 10 Creative Communities of Practice: Role Delineation in Record Production in Different Eras and across Different Genres and Production Settings • Tuomas Auvinen 11 Pre-Production • Mike Howlett Part V: Creating Recorded Music 12 Songwriting in the Studio • Simon Barber 13 The Influence of Recording on Performance: Classical Perspectives • Amy Blier-Carruthers 14 Welcome to the Machine: Musicians, Technology and Industry • Alan Williams 15 Studying Recording Techniques • Kirk McNally and Toby Seay 16 Materializing Identity in the Recording Studio • Alexa Woloshyn Part VI: Creating Desktop Music 17 Desktop Production and Groove • Anne Danielsen 18 The Boom in the Box: Bass and Sub-Bass in Desktop Production • Robert Fink 19 Maximum Sonic Impact: (Authenticity/Commerciality) Fidelity-Dualism in Contemporary Metal Music Production • Mark Mynett 20 Desktop Production and Commerciality • Phil Harding 21 Audio Processing • Michail Exarchos (aka Stereo Mike) and Simon Zagorski-Thomas Part VII: Post-Production 22 Studying Mixing: Creating a Contemporary Apprenticeship • Andrew Bour Part VIII: Distribution 23 Producer Compensation in the Digital Age • Richard James Burgess 24 Evolving Technologies of Music Distribution: Consumer Music Formats – Past, Presentand Future • Rob Toulson 25 Listening to Recorded Sound • Mark Katz 26 Interpreting the Materials of a Transmedia Storyworld: Word-Music-Image in Steven Wilson’s Hand. Cannot. Erase. (2015) • Lori A. Burns and Laura McLaren Index