Critical Approaches to the Production of Music and Sound
Editat de Dr Samantha Bennett, Eliot Batesen Limba Engleză Paperback – 24 iul 2019
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Specificații
ISBN-13: 9781501355783
ISBN-10: 1501355783
Pagini: 288
Ilustrații: 10 bw illus
Dimensiuni: 152 x 229 x 21 mm
Greutate: 0.39 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1501355783
Pagini: 288
Ilustrații: 10 bw illus
Dimensiuni: 152 x 229 x 21 mm
Greutate: 0.39 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
Moves
scholarship
beyond
the
analysis
of
recording
production
to
new,
multidisciplinary
areas
of
research
and
into
new
critical
frameworks
Notă biografică
Samantha
Bennett
is
Associate
Professor
of
Music
at
the
Australian
National
University.
Her
work
is
published
inPopular
Music,Popular
Music
and
SocietyandThe
Journal
of
Popular
Music
Studies.
She
is
the
author
of
the
upcoming
bookSiouxsie
and
the
Banshees'
Peepshow,
part
of
Bloomsbury's
33
1/3
series.Eliot
Bates
is
Assistant
Professor
of
Ethnomusicology
at
the
City
University
of
New
York
Graduate
Center.
He
is
the
author
ofMusic
in
Turkey:
Experiencing
Music,
Expressing
Culture(2011)
andDigital
Tradition:
Arrangement
and
Labor
in
Istanbul's
Recording
Studio
Culture(2016).
Cuprins
List
of
FiguresList
of
TablesList
of
Contributors
Chapter
1:
The
Production
of
Music
and
Sound:
A
Multidisciplinary
CritiqueEliot
Bates
and
Samantha
BennettSection
1:
Situating
Production:
Place,
Space
and
GenderChapter
2:
Field
Recording
and
the
Production
of
PlaceTom
Western
(University
of
Edinburgh,
Scotland)
Chapter
3:
The
Poietics
of
Space:
The
Role
and
Co-performance
of
the
Spatial
Environment
in
Popular
Music
ProductionDamon
Minchella
(University
of
Birmingham,
England)
Chapter
4:
"An
Indestructible
Sound":
Locating
Gender
in
Genres
Using
Different
Music
Production
ApproachesPaula
Wolfe
(Sib
Records,
England)Section
2:
Beyond
RepresentationChapter
5:
Producing
TV
Series
Music
in
IstanbulEliot
Bates
(City
University
of
New
York,
USA)
Chapter
6:
Reclamation
and
Celebration:
Kodangu,
a
Torres
Strait
Islander
Album
of
Ancestral
and
Contemporary
Australian
Indigenous
MusicKarl
Neuenfeldt
(Queensland
Conservatorium,
Griffith
University,
Australia)Section
3:
Electronic
MusicChapter
7:
"All
Sounds
Are
Created
Equal":
Mediating
Democracy
in
Acousmatic
EducationPatrick
Valiquet
(University
of
Edinburgh,
UK)
Chapter
8:
Technologies
of
Play
in
Hip-Hop
and
Electronic
Dance
Music
Production
and
PerformanceMike
D'Errico
(UCLA,
USA)Section
4:
Technology
and
TechniqueChapter
9:
Weapons
of
Mass
Deception:
The
Invention
and
Re-invention
of
Recording
Studio
MythologyAlan
Williams
(UMASS,
Lowell,
USA)
Chapter
10:
Auto-Tune
In
Situ:
Digital
Vocal
Correction
And
Conversational
RepairOwen
Marshall
(Cornell
University,
USA)Section
5:
Mediating
Sound
and
SilenceChapter
11:
Listening
To
or
Through
Technology:
Opaque
and
Transparent
Mediation
Ragnhild
Brøvig-Hanssen
(University
of
Oslo,
Norway)
Chapter
12:
Six
Types
of
SilenceRichard
Osborne
(Middlesex
University,
England)Section
6:
Virtuality
and
Online
ProductionChapter
13:
Intermixtuality:
Case
Studies
in
Online
Music
[Re]ProductionSamantha
Bennett
(Australian
National
University,
Australia)
Chapter
14:
Crowdfunding
and
Alternative
Modes
of
ProductionMark
Thorley
(Coventry
University,
England)
Index
Recenzii
Critical
Approaches
to
the
Production
of
Music
and
Soundis
a
wide-ranging
collection
of
essays
by
scholars
steeped
in
practice.
It
is
a
vital
contribution
to
the
literature,
offering
fresh
insights
and
research
on
the
evolving
interface
of
music
and
technology.
Anyone who thinks deeply about the production of sound and music needs this book. This welcome collection of essays ranges widely, breaking through disciplinary barriers and bringing together an exhilarating array of subjects and methodologies. Perhaps most impressively, it combines-and nicely blurs-theory and practice, modeling a vibrant and much-needed dialogue between the two.
Anyone who thinks deeply about the production of sound and music needs this book. This welcome collection of essays ranges widely, breaking through disciplinary barriers and bringing together an exhilarating array of subjects and methodologies. Perhaps most impressively, it combines-and nicely blurs-theory and practice, modeling a vibrant and much-needed dialogue between the two.