The Musicology of Record Production

Nonfiction, Entertainment, Music, Business & Technical, Recording & Reproduction, Theory & Criticism, Theory
Cover of the book The Musicology of Record Production by Simon Zagorski-Thomas, Cambridge University Press
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Author: Simon Zagorski-Thomas ISBN: 9781139986595
Publisher: Cambridge University Press Publication: August 14, 2014
Imprint: Cambridge University Press Language: English
Author: Simon Zagorski-Thomas
ISBN: 9781139986595
Publisher: Cambridge University Press
Publication: August 14, 2014
Imprint: Cambridge University Press
Language: English

Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas employs current theories from psychology and sociology to examine how recorded music is made and how we listen to it. Setting out a framework for the study of recorded music and record production, he explains how recorded music is fundamentally different to live performance, how record production influences our interpretation of musical meaning and how the various participants in the process interact with technology to produce recorded music. He combines ideas from the ecological approach to perception, embodied cognition and the social construction of technological systems to provide a summary of theoretical approaches that are applied to the sound of the music and the creative activity of production. A wide range of examples from Zagorski-Thomas's professional experience reveal these ideas in action.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Recorded music is as different to live music as film is to theatre. In this book, Simon Zagorski-Thomas employs current theories from psychology and sociology to examine how recorded music is made and how we listen to it. Setting out a framework for the study of recorded music and record production, he explains how recorded music is fundamentally different to live performance, how record production influences our interpretation of musical meaning and how the various participants in the process interact with technology to produce recorded music. He combines ideas from the ecological approach to perception, embodied cognition and the social construction of technological systems to provide a summary of theoretical approaches that are applied to the sound of the music and the creative activity of production. A wide range of examples from Zagorski-Thomas's professional experience reveal these ideas in action.

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