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The History of Music Production

Richard James Burgess

August 2014

ISBN: 9780199357178

264 pages
Paperback
235x156mm

In Stock

Price: £23.99

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Description

The History of Music Production offers an authoritative, concise, and accessible overview of nearly 140 years of production of recorded music. It describes what role the music producer has played in shaping the creation, perception, propagation, business, and use of music, and discusses the future of the music production industry.

  • Traces the development of technology, industrial processes, and consumer demand for music.
  • Outlines the important and constantly evolving role of the music producer.
  • Explains how technologies precipitate new musical styles
  • Discloses unpublished negotiations between major record labels and the controversial online file-sharing service Napster.
  • The ideal companion to The Art of Music Production.

About the Author(s)

Richard James Burgess, Director of Marketing and Sales, Smithsonian Folkways Recordings

Richard James Burgess is Director of Marketing and Sales for Smithsonian Folkways Recordings and author of The Art of Music Production, Fourth Edition (OUP 2013). He also runs his own artist management company, Burgess Worldco. Prior to coming to Smithsonian Folkways, Burgess managed major label artists with top ten chart hits and international touring schedules, including Spandau Ballet, King, Colonel Abrams, Five Star, Living In A Box, Shriekback, and New Edition.

Table of Contents

    CONTENTS
    PREFACE
    INTRODUCTION
    CHAPTER ONE
    Beginnings:
    Understanding Sound
    Toward Recording
    The Phonograph
    The First Producers
    CHAPTER TWO
    The acoustic period:
    Acoustic Recording
    International Expansion
    The Third Major Label
    The Sooys
    Documentation of Cultural Expression
    The End of an Era
    CHAPTER THREE
    The Electric period:
    Toward Electric Recording
    Better Sound
    Country Music
    Further Technological Foundations
    The Calm before the Storm
    The Thirties and Forties
    Radio, Film, and Tape Innovations
    CHAPTER FOUR
    Economic and Societal Overlay:
    Cyclical Decline
    One Thing after Another: The Thirties through the War
    Recovery
    CHAPTER FIVE
    The Studio is Interactive
    Toward Greater Control
    Magnetic Tape Recording
    Defining Some Terms
    Mastering
    Editing
    Sound on Sound
    Overdubbing
    Summing up of Tape's Impact
    The Microgroove LP
    CHAPTER SIX
    The Post World War II Reconstruction of the Recording Industry
    After the War
    The Boom in Independent Labels
    The Fifties
    Radio DJs
    CHAPTER SEVEN
    Mobile Music
    More Music for More People
    Music Anywhere: Radio on the Move
    My Music on the Move
    My Music Anywhere
    CHAPTER EIGHT
    Expanding the Palette
    Electric Instruments and Amplifiers
    Synthesizers
    Genre Hybridization
    CHAPTER NINE
    Some Key Producers
    The Objective
    Review of Early Producers
    Mitch Miller
    Leiber and Stoller
    Phil Spector
    Sam Phillips
    Steve Sholes
    Norrie Paramor
    Joe Meek
    Brian Wilson
    George Martin
    Holland, Dozier and Holland
    Teo Macero
    King Tubby
    Prince
    Rick Rubin
    Quincy Jones
    Robert John "Mutt" Lange
    Dr Dre
    Max Martin
    CHAPTER TEN
    The Sixties and Seventies
    Cultural and Creative Revolution
    The Sixties
    Mix Automation
    The Seventies
    CHAPTER ELEVEN
    Toward the Digital Age
    Digital Recording:
    Hip Hop:
    The State of the Eighties:
    The Sound of the Eighties:
    The Look of the Eighties:
    Shiny Silver Discs:
    Singles:
    Mixing:
    Dance Music:
    Remixes:
    Further Eighties Developments
    Mergers and Acquisitions
    The Internet and the World Wide Web
    CHAPTER TWELVE
    The Nineties
    The Corporate State
    The Charts and SoundScan
    Alternative Rock
    Toward Music Online
    Progress with Digitized Data
    Digital Radio
    Millennials
    Preparing the way for Napster
    CHAPTER THIRTEEN
    Periods of standards and stability
    Proprietary versus Open Systems
    Standards
    CHAPTER FOURTEEN
    Deconstructing the Studio
    Democratizing Technologies
    Improvised Environments
    When is a Home not a Home?
    Freedom
    CHAPTER FIFTEEN
    Random Access Recording Technology
    Why Random Access?
    The Beginnings of Random Access for Producers
    Drum Machines, Next Generation Sequencers and MIDI
    The Beginnings of Random Access Digital Recording
    Convergence and Integration
    CHAPTER SIXTEEN
    Transformative/Disruptive Technologies and the Value of Music
    Definitions of Terms
    The Industry at the Turn of the 21st Century
    Missed Opportunity
    Oh wait.
    No Big Surprises
    What a Great Idea
    What Happened to Vertical Integration?
    An Idea Whose Time Had Come
    Denial and Inaction
    The Consequences
    The Digital Disruption and Producer Income
    Performance Royalties
    Direct versus Statutory Licenses
    CHAPTER SEVENTEEN
    Post-Millennial Business Models
    American Idol
    Downloads
    Streaming Audio
    Non interactive streams
    Streaming on demand
    Web 2.0, Social Networking and Social Media
    Commonalities
    CHAPTER EIGHTEEN
    The Unfinished Work
    Sampling, Mash-ups and Remixes
    Using Records as Raw Material
    Disco
    Hip hop
    Adapting compositions
    Adapting Recordings
    The Question of Creativity
    The Question of Legality
    CONCLUSION
    ABOUT THE AUTHOR

Reviews

"Indispensable for lovers of music who are fascinated by the history of how musical recordings are made. Burgess has wrapped engaging stories around impressive research." - Steve Savage, author of The Art of Digital Audio Recording and Mixing and Mastering in the Box

"This important work brings new perspectives to the history of recorded music and shows how new technologies have been applied artfully and creatively by the many talented artisans of the craft in ways that changed how music is understood." - Mike Howlett, Associate Professor at Queensland University of Technology and Grammy award-winning producer