تجارت‌چیان صدا: خالقان موسیقی محبوب جامائیکا (سری موسیقی محبوب و فولکلور اشگیت)

Vibe Merchants offers an insider's perspective on the development of Jamaican Popular Music, researched and analysed by a thirty-year veteran with a wide range of experience in performance, production and academic study. This rare perspective, derived from interviews and ethnographic methodologies, focuses on the actual details of music-making practice, rationalized in the context of the economic and creative forces that locally drive music production. By focusing on the work of audio engineers and musicians, recording studios and recording models, Ray Hitchins highlights a music creation methodology that has been acknowledged as being different to that of Europe and North America. The book leads to a broadening of our understanding of how Jamaican Popular Music emerged, developed and functions, thus providing an engaging example of the important relationship between music, technology and culture that will appeal to a wide range of scholars. Cover 1 Contents 6 List of Figures 8 List of Music Examples 10 General Editors’ Preface 12 Acknowledgements 14 Introduction 16 1 Jamaica’s First Recording Studio 28 2 The Demand for New Styles of Recorded Music 48 3 Establishing an Internationally Competitive Recording Model 66 4 Establishing a Jamaican Sound 88 5 The 1970s–80s: A Period of Dramatic Change 112 6 Drum Machines and Synthesizers: The Serial Recording Model 128 7 The Riddim Production Method: The Audio Engineer as Music Arranger 148 8 Computer-based Recording and the Multi-role Producer in the 1990s 170 9 A Jamaican Recording Studio Ethnography 200 Conclusion 230 Appendix A Recording Models 234 Appendix B Interviewee List 238 Appendix C Glossary of Music-related Terms 240 Select Bibliography 244 Index 252 Vibe Merchants offers an insider's perspective on the development of Jamaican popular music. This rare perspective focuses on the actual details of music making practice, rationalised in the context of the economic and creative forces that locally drive music production. By focusing on the work of audio engineers and musicians, recording studios and recording models, Ray Hitchins highlights a music creation methodology that has been acknowledged as being different to that of Europe and North America. The book leads to a broadening of our understanding of how Jamaican Popular Music emerged, developed and functions, thus providing an engaging example of the important relatrionship between music, technology and culture that will appeal to a wide range of scholars