The Bloomsbury Handbook of Music Production

Contents

• List of Figures List of Tables Notes on
• Contributors
• Introduction (Andrew Bourbon, Huddersfield University, UK, and Simon Zagorski-Thomas, University of West London, UK)
• Part I Background
• 1. Recorded Music (Simon Zagorski-Thomas, University of West London, UK)
• 2. Authenticity in Music Production (Mike Alleyne, Middle Tennessee State University, USA)
• 3. How to Study Record Production (Carlo Nardi, Free University of Bozen-Bolzano, Italy)
• Part II Technology
• 4. From Tubes to Transistors: Developments in Recording Technology up to 1970 (Albin Zak III, University at Albany, USA)
• 5. Transitions: The History of Recording Technology from 1970 to the Present (Paul Theberge, Carleton University, Canada)
• 6. How Does Vintage Equipment Fit into a Modern Working Process? (Anthony Meynell, Record Producer and Independent Scholar, UK)
• Part III Places
• 7. Recording Studios in the First Half of the Twentieth Century (Susan Schmidt-Horning, St. John's University, USA)
• 8. Recording Studios since 1970 (Eliot Bates, The Graduate Center of the City University of New York, USA)
• Part IV Organizing the Production Process
• 9. Information, (Inter)action and Collaboration in Record Production Environments (M. Nyssim Lefford, Lulea University of Technology, Sweden)
• 10. Creative Communities of Practice: Role Delineation in Record Production in Different Eras and across Different Genres and Production Settings (Tuomas Auvinen, University of Turku, Finland)
• 11. Pre-Production (Mike Howlett, The University of West London, UK)
• Part V Creating Recorded Music
• 12. Songwriting in the Studio (Simon Barber, Birmingham City University, USA)
• 13. The Influence of Recording on Performance: Classical Perspectives (Amy Blier-Carruthers, Royal Academy of Music, UK)
• 14. Welcome to the Machine: Musicians, Technology and Industry (Alan Williams, University of Massachusetts Lowell, USA)
• 15. Studying Recording Techniques (Kirk McNally, University of Victoria, Canada, and Toby Seay, Drexel University, USA)
• 16. Materializing Identity in the Recording Studio (Alexa Woloshyn, Carnegie Mellon University, USA)
• Part VI Creating Desktop Music
• 17. Desktop Production and Groove (Anne Danielsen, University of Oslo, Norway)
• 18. The Boom in the Box: Bass and Sub-Bass in Desktop Production (Robert Fink, University of California, Los Angeles, USA)
• 19. Maximum Sonic Impact: (Authenticity/Commerciality) Fidelity-Dualism in Contemporary Metal Music Production (Mark Mynett, University of Huddersfield, UK)
• 20. Desktop Production and Commerciality (Phil Harding, Joint Audio Media Education Service, UK)
• 21. Audio Processing (Mike Exarchos [aka Stereo Mike] and Simon Zagorski-Thomas, University of West London, UK)
• Part VII Post-Production
• 22. Studying Mixing: Creating a Contemporary Apprenticeship (Andrew Bourbon. Huddersfield University, UK)
• Part VIII Distribution
• 23. Producer Compensation in the Digital Age (Richard James Burgess, American Association of Independent Music, USA)
• 24. Evolving Technologies of Music Distribution: Consumer Music Formats - Past, Present and Future (Rob Toulson, Founder and Director of RT60 Ltd)
• 25. Listening to Recorded Sound (Mark Katz, University of North Carolina, Chapel Hill, USA)
• 26. Interpreting the Materials of a Transmedia Storyworld: Word-Music-Image in Steven Wilson's Hand. Cannot. Erase. (2015) (Lori A. Burns, University of Ottawa, Cananda, and Laura McLaren, University of Toronto, Canada)
• Index