skip to content
The producer as composer : shaping the sounds of popular music Preview this item
ClosePreview this item
Checking...

The producer as composer : shaping the sounds of popular music

Author: Virgil Moorefield
Publisher: Cambridge, Mass. : MIT Press, ©2005.
Edition/Format:   Book : EnglishView all editions and formats
Database:WorldCat
Summary:
"In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate electicism of George Martin's recordings of the Beatles did not resemble live performances--in the Albert Hall or elsewhere--but instead created a new sonic world. The role of the record  Read more...
Rating:

(not yet rated) 0 with reviews - Be the first.

Subjects
More like this

 

Find a copy online

Links to this item

Find a copy in the library

&AllPage.SpinnerRetrieving; Finding libraries that hold this item...

Details

Additional Physical Format: Online version:
Moorefield, Virgil, 1956-
Producer as composer.
Cambridge, Mass. : MIT Press, c2005
(OCoLC)654368854
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Virgil Moorefield
ISBN: 0262134578 9780262134576
OCLC Number: 57682195
Description: xix, 143 p. ; 24 cm.
Contents: From mirror to beacon --
The studio as musical instrument --
The producer takes center stage.
Responsibility: Virgil Moorefield.

Abstract:

"In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate electicism of George Martin's recordings of the Beatles did not resemble live performances--in the Albert Hall or elsewhere--but instead created a new sonic world. The role of the record producer, writes [the author in this book]...was evolving from that of organizer to auteur. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques--tape editing, overdubbing, compression--and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers.... [This book] tries to unravel the mystery of good pop: why does it sound the way it does?"--From publisher description.

Reviews

User-contributed reviews
Retrieving GoodReads reviews...
Retrieving DOGObooks reviews...

Tags

Be the first.
Confirm this request

You may have already requested this item. Please select Ok if you would like to proceed with this request anyway.

Linked Data


<http://www.worldcat.org/oclc/57682195>
library:oclcnum"57682195"
library:placeOfPublication
library:placeOfPublication
owl:sameAs<info:oclcnum/57682195>
rdf:typeschema:Book
schema:about
<http://id.loc.gov/authorities/subjects/sh88003431>
rdf:typeschema:Intangible
schema:name"Sound recordings--Production and direction--History."@en
schema:about
schema:about
<http://id.loc.gov/authorities/subjects/sh85088865>
rdf:typeschema:Intangible
schema:name"Popular music--Analysis, appreciation."@en
schema:name"Popular music--Production and direction--History."@en
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
<http://id.worldcat.org/fast/1127057>
rdf:typeschema:Intangible
schema:name"Sound recordings--Production and direction"@en
schema:about
schema:about
schema:about
schema:copyrightYear"2005"
schema:creator
schema:datePublished"2005"
schema:description"From mirror to beacon -- The studio as musical instrument -- The producer takes center stage."@en
schema:description""In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate electicism of George Martin's recordings of the Beatles did not resemble live performances--in the Albert Hall or elsewhere--but instead created a new sonic world. The role of the record producer, writes [the author in this book]...was evolving from that of organizer to auteur. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques--tape editing, overdubbing, compression--and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers.... [This book] tries to unravel the mystery of good pop: why does it sound the way it does?"--From publisher description."@en
schema:exampleOfWork<http://worldcat.org/entity/work/id/196209156>
schema:genre"History"@en
schema:inLanguage"en"
schema:name"The producer as composer : shaping the sounds of popular music"@en
schema:numberOfPages"143"
schema:publisher
schema:url
schema:workExample
umbel:isLike<http://bnb.data.bl.uk/id/resource/GBA581671>

Content-negotiable representations

Close Window

Please sign in to WorldCat 

Don't have an account? You can easily create a free account.