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The Musicology of Record Production

$103.00 (C)

Award Winner
  • Date Published: September 2014
  • availability: Available
  • format: Hardback
  • isbn: 9781107075641

$ 103.00 (C)
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About the Authors
  • 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.

    • Proposes a new agenda for the study of recorded music and record production
    • Discusses record production in terms of its collaborative creative practice and the interpretation of its musical output rather than in purely technical terms
    • Co-chairman of the Association for the Study of the Art of Record Production, Zagorski-Thomas has a unique overview of the developing culture of research and teaching about record production
    Read more

    Awards

    • Winner, 2015 Book Prize, International Association for the Study of Popular Music

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    Product details

    • Date Published: September 2014
    • format: Hardback
    • isbn: 9781107075641
    • length: 278 pages
    • dimensions: 246 x 180 x 20 mm
    • weight: 0.68kg
    • availability: Available
  • Table of Contents

    1. Introduction
    2. Why study record production?
    3. How should we study record production?
    Theoretical interlude 1
    4. Sonic cartoons
    5. Staging
    Theoretical interlude 2
    6. The development of audio technology
    7. Using technology
    Theoretical interlude 3
    8. Training, communication and practice
    9. Performance in the studio
    Theoretical interlude 4
    10. Aesthetics and consumer influence
    11. The business of record production
    Afterword.

  • Author

    Simon Zagorski-Thomas, London College of Music, Thames Valley University
    Simon Zagorski-Thomas is a Reader at the London College of Music, University of West London. He is a director of the annual Art of Record Production Conference, a co-founder of the Journal on the Art of Record Production and co-chairman of the Association for the Study of the Art of Record Production (www.artofrecordproduction.com). His publications include The Art of Record Production (co-edited with Simon Frith, 2012). Before becoming an academic he worked for twenty-five years as a composer, sound engineer and producer with artists as varied as Phil Collins, Mica Paris, the London Community Gospel Choir, Bill Bruford, The Mock Turtles, Courtney Pine and the Balanescu Quartet. He continues to compose and record music and is currently conducting research into the musicology of record production, popular music analysis and performance practice in the recording process.

    Awards

    • Winner, 2015 Book Prize, International Association for the Study of Popular Music

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