19 research outputs found
The poetics of rock: cutting tracks, making records
After a hundred years of recording, the process of making records is still mysterious to most people who listen to them. Records hold a fundamental place in the dynamics of modern musical life, but what do they represent? Are they documents? Snapshots? Artworks? Fetishes? Commodities? Conveniences? The Poetics of Rock is a fascinating exploration of recording consciousness and compositional process from the perspective of those who make records. In it, Albin Zak examines the crucial roles played by recording technologies in the construction of rock music and shows how songwriters, musicians, engineers, and producers contribute to the creative project, and how they all leave their mark on the finished work. Zak shapes an image of the compositional milieu by exploring its elements and discussing the issues and concerns faced by artists. Using their testimony to illuminate the nature of record making and of records themselves, he shows that the art of making rock records is a collaborative compositional process that includes many skills and sensibilities not traditionally associated with musical composition. Zak connects all the topics--whether technical, conceptual, aesthetic, or historical--with specific artists and recordings and illustrates them with citations from artists and with musical examples. In lively and engaging prose, The Poetics of Rock brilliantly illustrates how the musical energy from a moment of human expression translates into a musical work wrought in sound
The Foundations of Rock: From “Blue Suede Shoes” to “Suite: Judy Blue Eyes.” By Walter Everett. New York: Oxford University Press, 2009.
Analysis of drill stem test data
Due to the character of the original source materials and the nature of batch digitization, quality control issues may be present in this document. Please report any quality issues you encounter to [email protected], referencing the URI of the item.Not availabl
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Review of Timothy D. Taylor. 2001. Strange Sounds: Music, Technology, and Culture. New York: Routledge
Strange Sounds is among the growing literature concerned with the interface of technology and musical practice, reception, and use (referred to in this book, as in many others, as “production” and “consumption”). More specifically, the author is concerned with the ways “that digital technology shapes the three areas that have historically been so affected by technology: music production, storage/distribution, and consumption” (15), with a particular focus on the latter two. The ability to capture sound as digital information is, of course, an outgrowth of analog sound recording, and is thus only the latest chapter in a history of technological evolution that has both shaped and been shaped by the forces of musical culture. The field of potential inquiry for such a project is vast, and from the complex of relevant topics Taylor takes up a subset focusing on “agency” and “ideologies of technology” (9), with the aim of probing the social dimensions of the music/ technology interface. What emerges is a somewhat idiosyncratic investigation that draws attention to several unlikely historical and aesthetic connections
Analysis of drill stem test data
Due to the character of the original source materials and the nature of batch digitization, quality control issues may be present in this document. Please report any quality issues you encounter to [email protected], referencing the URI of the item.Not availabl