دانلود کتاب Critical Approaches to the Production of Music and Sound

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Title Page
Copyright Page
Contents
List of Figures and Tables
List of Contributors
Acknowledgments
Chapter One: The Production of Music and Sound: A Multidisciplinary Critique
Phonomusicology
Producers, “Production Personnel,” and Auteurism
Bibliography
Filmography
Part One: Situating Production: Place, Space and Gender
Chapter Two: Field Recording and the Production of Place
Introduction
Hearing the Fields
The Art of Field Production
Producing Place
Conclusions
Notes
Bibliography
Chapter Three: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music Production
Introduction and Preamble
Phenomenology and the “Science” of Experience
Complexity and Creativity
Musical Spaces
Methodology
Findings
Conclusions, Commentary, and Creative Practice
Bibliography
Interview participants
Chapter Four: “An Indestructible Sound”: Locating Gender in Genres Using Different Music Production Approaches
Introduction
DIY Beginnings
Music Production and the Lyric
Situating Gender
Conclusions
Notes
Bibliography
Part Two: Beyond Representation
Chapter Five: Producing TV Series Music in Istanbul
Arrangement
Music and Arranged Sound in Fırtına
Conclusions
Acknowledgments
Notes
Bibliography
Chapter Six: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous Music
Introduction
The Kodangu Album\'s Contents—and Intents
Geographic and Cultural Contexts
Analysis of Select Songs
Theoretical Analysis
Conclusions
Notes
Bibliography
Discography (Select)
Filmography
Part Three: Electronic Music
Chapter Seven: “All Sounds Are Created Equal”: Mediating Democracy in Acousmatic Education
Acousmatic Training and the Transformation of Cultural Citizenship in Quebec
Acousmatic Pluralism in the Classroom
Conclusions
Acknowledgments
Notes
Bibliography
Chapter Eight: Technologies of Play in Hip-Hop and Electronic Dance Music Production and Performance
From Turntablism to Controllerism
Controllerism and the Materiality of Software
Controller Design for Gaming
Controller Design for Music-Making
Failure as Evidence of Liveness
Bibliography
Part Four: Technology and Technique
Chapter Nine: Weapons of Mass Deception: The Invention and Reinvention of Recording Studio Mythology
Introduction
Manufacturing the Myth
Mythologies Shaping Practice
Fearing the Ever-Present Future
Nostalgia and Revisionism
Conclusions
Bibliography
Film and Videography
Chapter Ten: Auto-Tune In Situ: Digital Vocal Correction and Conversational Repair
Introduction
Inscription
Repetition
Intonation
Conclusions: On Producing an Accountably Unaccountable Transcription
Acknowledgments
Notes
Bibliography
Part Five: Mediating Sound and Silence
Chapter Eleven: Listening to or Through Technology: Opaque and Transparent Mediation
Opaque and Transparent Mediation
Opaque Mediation as Musical Paradigm
Spatiotemporal Fragmentation
Mediation Comprehended as Applied to Sounds
Straddling the Border Between “Intramusical” and “Extramusical” Mediation
Conclusions
Notes
Bibliography
Discography
Chapter Twelve: Six Types of Silence
Notated Silence
Phonographic Cageian Silence
Political Silence
Memorial Silence
Technical Silence
Economic Silence
Bibliography
Part Six: Virtuality and Online Production
Chapter Thirteen: Intermixtuality: Case Studies in Online Music (Re)production
Introduction
Deadmau5—“SOFI Needs a Ladder” (2010)
REM—“It Happened Today” (2011)
Bon Iver—Bon Iver (2012)
Skrillex and Damien Marley—“Make It Bun Dem” (2012)
Intermixtuality—Online Re(mix) production and Reception
Summary
Bibliography
Chapter Fourteen: Crowdfunding and Alternative Modes of Production
The Established Model and Alternative Modes of Production
The Immediate Attractions of Crowdfunding
A Considered Rationale
Ignore the Record Company Model
Anticipate Supporter Motivations
Active Engagement with Participants
Summary
Bibliography
Index