Art Of Record Prod An Introductory Reader for a New Academic Field

Introduction; Section I Historical Approaches: The lacquer disc for immediate playback: professional recording and home recording from the 1920s to the 1950s; The sounds of space: studio as instrument in the era of high fidelity; No-fi: crafting a language of recorded music in 1950s pop; The US vs the UK sound: meaning in music production in the 1970s; The end of the world as we know it: the changing role of the studio in the age of the internet; Interlude I: comments and commentaries by industry professionals and producers.; Section II Theoretical Approaches: Beyond a musicology of production, Allan Moore; 'I'm not hearing what you're hearing': the conflict and connection of headphone mixes and multiple audioscapes; The self-effacing producer: absence summons presence; Rethinking creativity: record production and the systems model; Considering space in recorded music; Interlude II: comments and commentaries by industry professionals, and producers.; Section III Case studies Simulating the ideal performance: Suvi Raj Grubb and classical music production; The place of the producer in the discourse of rock; The Beach Boys' Pet Sounds and the musicology of record production; Tubby's dub style: the live art of record production; Recording the Revolution: 50 years of music studios in revolutionary Cuba; Interlude III: comments and commentaries by industry professionals and producers; Afterword; Index.