The musicology of record production:
Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas 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,...
Saved in:
| Main Author: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Cambridge
Cambridge University Press
2014
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| Subjects: | |
| Links: | https://doi.org/10.1017/CBO9781139871846 https://doi.org/10.1017/CBO9781139871846 https://doi.org/10.1017/CBO9781139871846 |
| Summary: | Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas 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. He 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. A wide range of examples from Zagorski-Thomas's professional experience reveal these ideas in action |
| Item Description: | Title from publisher's bibliographic system (viewed on 05 Oct 2015) |
| Physical Description: | 1 online resource (vii, 269 pages) |
| ISBN: | 9781139871846 |
| DOI: | 10.1017/CBO9781139871846 |
Staff View
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| 505 | 8 | |a 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 | |
| 520 | |a Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas 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. He 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. A wide range of examples from Zagorski-Thomas's professional experience reveal these ideas in action | ||
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| 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 |
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| dewey-full | 781.49/023 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
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| dewey-search | 781.49/023 |
| dewey-sort | 3781.49 223 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.1017/CBO9781139871846 |
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| isbn | 9781139871846 |
| language | English |
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| spelling | Zagorski-Thomas, Simon Verfasser (DE-588)1033717487 aut The musicology of record production Simon Zagorski-Thomas Cambridge Cambridge University Press 2014 1 online resource (vii, 269 pages) txt rdacontent c rdamedia cr rdacarrier Title from publisher's bibliographic system (viewed on 05 Oct 2015) 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 Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas 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. He 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. A wide range of examples from Zagorski-Thomas's professional experience reveal these ideas in action Psychologie Sound recordings / Production and direction / Philosophy and aesthetics Sound recordings / Production and direction / Psychological aspects Musical perception Schallplattenproduktion (DE-588)4202202-2 gnd rswk-swf Schallplattenproduktion (DE-588)4202202-2 s 1\p DE-604 Erscheint auch als Druck-Ausgabe, Hardcover 978-1-107-07564-1 Erscheint auch als Druck-Ausgabe, Paperback 978-1-107-42834-8 https://doi.org/10.1017/CBO9781139871846 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Zagorski-Thomas, Simon The musicology of record production 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 Psychologie Sound recordings / Production and direction / Philosophy and aesthetics Sound recordings / Production and direction / Psychological aspects Musical perception Schallplattenproduktion (DE-588)4202202-2 gnd |
| subject_GND | (DE-588)4202202-2 |
| title | The musicology of record production |
| title_auth | The musicology of record production |
| title_exact_search | The musicology of record production |
| title_full | The musicology of record production Simon Zagorski-Thomas |
| title_fullStr | The musicology of record production Simon Zagorski-Thomas |
| title_full_unstemmed | The musicology of record production Simon Zagorski-Thomas |
| title_short | The musicology of record production |
| title_sort | the musicology of record production |
| topic | Psychologie Sound recordings / Production and direction / Philosophy and aesthetics Sound recordings / Production and direction / Psychological aspects Musical perception Schallplattenproduktion (DE-588)4202202-2 gnd |
| topic_facet | Psychologie Sound recordings / Production and direction / Philosophy and aesthetics Sound recordings / Production and direction / Psychological aspects Musical perception Schallplattenproduktion |
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