The History of Music Production.:
In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades an...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Oxford :
Oxford University Press,
2014.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess arg. |
| Beschreibung: | 1 online resource (265 pages) |
| Bibliographie: | Includes bibliographical references (pages 209-226) and index. |
| ISBN: | 9780199357185 0199357188 0199385017 9780199385010 |
Internformat
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| 100 | 1 | |a Burgess, Richard James. |0 http://id.loc.gov/authorities/names/nb97058799 | |
| 245 | 1 | 4 | |a The History of Music Production. |
| 260 | |a Oxford : |b Oxford University Press, |c 2014. | ||
| 300 | |a 1 online resource (265 pages) | ||
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| 505 | 0 | |a Beginnings. Understanding sound ; Toward recording ; The phonograph ; The first producers -- The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era -- 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 -- Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery -- 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 -- The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs -- Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere -- Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization -- 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 -- The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies -- 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 -- 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 -- Periods of standards and stability. Proprietary versus open systems ; Standards -- Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom -- 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 -- 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 -- Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities -- 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. | |
| 588 | 0 | |a Print version record. | |
| 520 | |a In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess arg. | ||
| 504 | |a Includes bibliographical references (pages 209-226) and index. | ||
| 650 | 0 | |a Sound recording industry |x History. | |
| 650 | 0 | |a Sound recordings |x Production and direction |x History. | |
| 650 | 0 | |a Sound |x Recording and reproducing |x History. | |
| 650 | 0 | |a Sound recordings |x History. | |
| 650 | 0 | |a Music and technology. |0 http://id.loc.gov/authorities/subjects/sh94007386 | |
| 650 | 6 | |a Son |x Enregistrement et reproduction |x Histoire. | |
| 650 | 6 | |a Musique et technologie. | |
| 650 | 6 | |a Enregistrements sonores |x Industrie |x Histoire. | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 7 | |a Music and technology |2 fast | |
| 650 | 7 | |a Sound |x Recording and reproducing |2 fast | |
| 650 | 7 | |a Sound recording industry |2 fast | |
| 650 | 7 | |a Sound recordings |2 fast | |
| 650 | 7 | |a Sound recordings |x Production and direction |2 fast | |
| 655 | 7 | |a History |2 fast | |
| 758 | |i has work: |a The history of music production (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGtByGdY6hqQDW8myCmkrC |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Burgess, Richard James. |t History of Music Production. |d Oxford : Oxford University Press, ©2014 |z 9780199357178 |
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Datensatz im Suchindex
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| _version_ | 1804748447000035328 |
| adam_text | |
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| author | Burgess, Richard James |
| author_GND | http://id.loc.gov/authorities/names/nb97058799 |
| author_facet | Burgess, Richard James |
| author_role | |
| author_sort | Burgess, Richard James |
| author_variant | r j b rj rjb |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | M - Music |
| callnumber-label | ML3790 |
| callnumber-raw | ML3790 .B842 2014eb |
| callnumber-search | ML3790 .B842 2014eb |
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| callnumber-subject | ML - Literature on Music |
| collection | ZDB-4-EBU |
| contents | Beginnings. Understanding sound ; Toward recording ; The phonograph ; The first producers -- The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era -- 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 -- Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery -- 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 -- The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs -- Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere -- Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization -- 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 -- The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies -- 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 -- 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 -- Periods of standards and stability. Proprietary versus open systems ; Standards -- Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom -- 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 -- 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 -- Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities -- 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. |
| ctrlnum | (OCoLC)880827192 |
| dewey-full | 781.49 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.49 |
| dewey-search | 781.49 |
| dewey-sort | 3781.49 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| format | Electronic eBook |
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Understanding sound ; Toward recording ; The phonograph ; The first producers -- The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era -- 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 -- Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery -- 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 -- The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs -- Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere -- Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization -- 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 -- The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies -- 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 -- 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 -- Periods of standards and stability. Proprietary versus open systems ; Standards -- Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom -- 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 -- 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 -- Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities -- 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.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. 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| genre | History fast |
| genre_facet | History |
| id | ZDB-4-EBU-ocn880827192 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-16T15:04:01Z |
| institution | BVB |
| isbn | 9780199357185 0199357188 0199385017 9780199385010 |
| language | English |
| oclc_num | 880827192 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (265 pages) |
| psigel | ZDB-4-EBU |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Oxford University Press, |
| record_format | marc |
| spelling | Burgess, Richard James. http://id.loc.gov/authorities/names/nb97058799 The History of Music Production. Oxford : Oxford University Press, 2014. 1 online resource (265 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier Beginnings. Understanding sound ; Toward recording ; The phonograph ; The first producers -- The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era -- 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 -- Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery -- 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 -- The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs -- Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere -- Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization -- 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 -- The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies -- 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 -- 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 -- Periods of standards and stability. Proprietary versus open systems ; Standards -- Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom -- 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 -- 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 -- Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities -- 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. Print version record. In The History of Music Production, Richard James Burgess draws on his experience as a producer, musician, and author. Beginning in 1860 with the first known recording of an acoustic sound and moving forward chronologically, Burgess charts the highs and lows of the industry throughout the decades and concludes with a discussion on the present state of music production. Throughout, he tells the story of the music producer as both artist and professional, including biographical sketches of key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Burgess arg. Includes bibliographical references (pages 209-226) and index. Sound recording industry History. Sound recordings Production and direction History. Sound Recording and reproducing History. Sound recordings History. Music and technology. http://id.loc.gov/authorities/subjects/sh94007386 Son Enregistrement et reproduction Histoire. Musique et technologie. Enregistrements sonores Industrie Histoire. MUSIC Instruction & Study Theory. bisacsh Music and technology fast Sound Recording and reproducing fast Sound recording industry fast Sound recordings fast Sound recordings Production and direction fast History fast has work: The history of music production (Text) https://id.oclc.org/worldcat/entity/E39PCGtByGdY6hqQDW8myCmkrC https://id.oclc.org/worldcat/ontology/hasWork Print version: Burgess, Richard James. History of Music Production. Oxford : Oxford University Press, ©2014 9780199357178 FWS01 ZDB-4-EBU FWS_PDA_EBU https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=783530 Volltext |
| spellingShingle | Burgess, Richard James The History of Music Production. Beginnings. Understanding sound ; Toward recording ; The phonograph ; The first producers -- The acoustic period. Acoustic recording ; International expansion ; The third major label ; The Sooys ; Documentation of cultural expression ; The end of an era -- 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 -- Economic and societal overlay. Cyclical decline ; One thing after another : the thirties through the war ; Recovery -- 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 -- The post-World War II reconstruction of the recording industry. After the war ; The boom in independent labels ; The fifties ; Radio DJs -- Mobile music. More music for more people ; Music anywhere : radio on the move ; My music on the move ; My music anywhere -- Expanding the palette. Electric instruments and amplifiers ; Synthesizers ; Genre hybridization -- 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 -- The sixties and seventies. Cultural and creative revolution ; The sixties ; Mix automation ; The seventies -- 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 -- 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 -- Periods of standards and stability. Proprietary versus open systems ; Standards -- Deconstructing the studio. Democratizing technologies ; Improvised environments ; When is a home not a home? ; Freedom -- 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 -- 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 -- Post-millennial business models. American Idol ; Downloads ; Streaming audio ; Non-interactive streams ; Streaming on demand ; Web 2.0, social networking and social media commonalities -- 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. Sound recording industry History. Sound recordings Production and direction History. Sound Recording and reproducing History. Sound recordings History. Music and technology. http://id.loc.gov/authorities/subjects/sh94007386 Son Enregistrement et reproduction Histoire. Musique et technologie. Enregistrements sonores Industrie Histoire. MUSIC Instruction & Study Theory. bisacsh Music and technology fast Sound Recording and reproducing fast Sound recording industry fast Sound recordings fast Sound recordings Production and direction fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh94007386 |
| title | The History of Music Production. |
| title_auth | The History of Music Production. |
| title_exact_search | The History of Music Production. |
| title_full | The History of Music Production. |
| title_fullStr | The History of Music Production. |
| title_full_unstemmed | The History of Music Production. |
| title_short | The History of Music Production. |
| title_sort | history of music production |
| topic | Sound recording industry History. Sound recordings Production and direction History. Sound Recording and reproducing History. Sound recordings History. Music and technology. http://id.loc.gov/authorities/subjects/sh94007386 Son Enregistrement et reproduction Histoire. Musique et technologie. Enregistrements sonores Industrie Histoire. MUSIC Instruction & Study Theory. bisacsh Music and technology fast Sound Recording and reproducing fast Sound recording industry fast Sound recordings fast Sound recordings Production and direction fast |
| topic_facet | Sound recording industry History. Sound recordings Production and direction History. Sound Recording and reproducing History. Sound recordings History. Music and technology. Son Enregistrement et reproduction Histoire. Musique et technologie. Enregistrements sonores Industrie Histoire. MUSIC Instruction & Study Theory. Music and technology Sound Recording and reproducing Sound recording industry Sound recordings Sound recordings Production and direction History |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=783530 |
| work_keys_str_mv | AT burgessrichardjames thehistoryofmusicproduction AT burgessrichardjames historyofmusicproduction |