The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.

part I|61 pages

The creative use of technology

chapter 1|17 pages

Tanya Tagaq

A cosmopolitan artist in the studio

chapter 2|12 pages

Moving at high speed into the future

Notes on British postpunk record production

chapter 3|16 pages

Mixing with quotations

Mashups and contextual transformation

chapter 4|14 pages

Heaviness in three dimensions

The use of sonic space in Contemporary Metal Music production

part II|46 pages

The social interactions of production activity

chapter 5|11 pages

Who’s the producer?

chapter 7|15 pages

The “virtual” producer in the recording studio

Media networks in long-distance peripheral performances

part III|75 pages

Forms of theoretical analysis

chapter 8|13 pages

The systems approach to creative practice

The case of Supersonic 2003–2004

chapter 9|13 pages

What is a jazz record anyway?

Lennie Tristano and the use of extended studio techniques in jazz

chapter 11|14 pages

Studio recording and World Music making in Central America

The case of the Garifuna Paranda, from local revival to internationalization

chapter 12|17 pages

Haydn in modern dress

Applying experimental contemporary production techniques to the classical repertoire