Description |
vii, 269 pages ; 26 cm |
Bibliography |
Includes bibliographical references, discographies, filmographies and index. |
Contents |
Introduction - Why study record production? - How should we study record production? - Theoretical interlude 1 - Sonic cartoons - Staging - Theoretical interlude 2 - The development of audio technology - Using technology - Theoretical interlude 3 - Training, communication and practice - Performance in the studio - Theoretical interlude 4 - Aesthetics and consumer influence - The business of record production |
Summary |
The author employs current theories from psychology and sociology to examine how recorded music is made and how we listen to it. Setting out a framework for the study of recorded music and record production, he explains how recorded music is fundamentally different to live performance, how record production influences our interpretation of musical meaning and how the various participants in the process interact with technology to produce recorded music. The book combines ideas from the ecological approach to perception, embodied cognition and the social construction of technological systems to provide a summary of theoretical approaches that are applied to the sound of the music and the creative activity of production. |
Subject |
Sound recordings -- Production and direction -- Philosophy and aesthetics.
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Sound recordings -- Production and direction. |
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Sound recordings -- Production and direction -- Psychological aspects.
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Psychological aspects. |
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Musical perception.
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Musical perception. |
ISBN |
9781107075641 Hardback |
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1107075645 Hardback |
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