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The producer as composer : shaping the sounds of popular music

Author: Virgil Moorefield
Publisher: Cambridge, Mass. : MIT Press, ©2005.
Edition/Format:   Print book : EnglishView all editions and formats
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 eclecticism 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...
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Genre/Form: History
Additional Physical Format: Online version:
Moorefield, Virgil, 1956-
Producer as composer.
Cambridge, Mass. : MIT Press, ©2005
(OCoLC)654368854
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Virgil Moorefield
ISBN: 0262134578 9780262134576 9780262514057 0262514052
OCLC Number: 57682195
Description: xix, 143 pages ; 24 cm
Contents: From mirror to beacon --
The studio as musical instrument --
The producer takes center stage.
Responsibility: Virgil Moorefield.

Abstract:

The evolution of the record producer from organizer to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing.  Read more...

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"Virgil Moorefield has given us a first-rate inside view of how gifted producers have changed the way we create and consume music. This book is essential for anyone who cares about how music has Read more...

 
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Primary Entity<\/h3>\n
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The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism 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 ... 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<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Event\/geschichte_1960_2005<\/a>> # Geschichte 1960-2005.<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Event<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Geschichte 1960-2005.<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Place\/cambridge_mass<\/a>> # Cambridge, Mass.<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Place<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Cambridge, Mass.<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Topic\/enregistrements_sonores_production_et_realisation_histoire<\/a>> # Enregistrements sonores--Production et r\u00E9alisation--Histoire<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Enregistrements sonores--Production et r\u00E9alisation--Histoire<\/span>\"@fr<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Topic\/popular_music_analysis_appreciation<\/a>> # Popular music--Analysis, appreciation<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Popular music--Analysis, appreciation<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Topic\/popular_music_production_and_direction_history<\/a>> # Popular music--Production and direction--History<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Popular music--Production and direction--History<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Topic\/rockmusik<\/a>> # Rockmusik<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Rockmusik<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/experiment.worldcat.org\/entity\/work\/data\/196209156#Topic\/sound_recordings_production_and_direction_history<\/a>> # Sound recordings--Production and direction--History<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:hasPart<\/a> <http:\/\/id.loc.gov\/authorities\/subjects\/sh88003431<\/a>> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Sound recordings--Production and direction--History<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/id.worldcat.org\/fast\/1071424<\/a>> # Popular music--Analysis, appreciation<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Intangible<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Popular music--Analysis, appreciation<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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<http:\/\/viaf.org\/viaf\/74102182<\/a>> # Virgil Moorefield<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:birthDate<\/a> \"1956<\/span>\" ;\u00A0\u00A0\u00A0\nschema:familyName<\/a> \"Moorefield<\/span>\" ;\u00A0\u00A0\u00A0\nschema:givenName<\/a> \"Virgil<\/span>\" ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Virgil Moorefield<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
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