Critical Approaches to the Production of Music and Sound

PROSE Award for Excellence in Music and the Performing Arts Finalist 2019 Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

Samantha Bennett is Associate Professor of Music at the Australian National University. Her work is published in Popular Music, Popular Music and Society and The Journal of Popular Music Studies. She is the author of the upcoming book Siouxsie and the Banshees' Peepshow, part of Bloomsbury's 33 1/3 series. Eliot Bates is Assistant Professor of Ethnomusicology at the City University of New York Graduate Center. He is the author of Music in Turkey: Experiencing Music, Expressing Culture (2011) and Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture (2016).

List of Figures List of Tables List of Contributors Chapter 1: The Production of Music and Sound: A Multidisciplinary Critique Eliot Bates and Samantha Bennett Section 1: Situating Production: Place, Space and Gender Chapter 2: Field Recording and the Production of Place Tom Western (University of Edinburgh, Scotland) Chapter 3: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music Production Damon Minchella (University of Birmingham, England) Chapter 4: "An Indestructible Sound": Locating Gender in Genres Using Different Music Production Approaches Paula Wolfe (Sib Records, England) Section 2: Beyond Representation Chapter 5: Producing TV Series Music in Istanbul Eliot Bates (City University of New York, USA) Chapter 6: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous Music Karl Neuenfeldt (Queensland Conservatorium, Griffith University, Australia) Section 3: Electronic Music Chapter 7: "All Sounds Are Created Equal": Mediating Democracy in Acousmatic Education Patrick Valiquet (University of Edinburgh, UK) Chapter 8: Technologies of Play in Hip-Hop and Electronic Dance Music Production and Performance Mike D'Errico (UCLA, USA) Section 4: Technology and Technique Chapter 9: Weapons of Mass Deception: The Invention and Re-invention of Recording Studio Mythology Alan Williams (UMASS, Lowell, USA) Chapter 10: Auto-Tune In Situ: Digital Vocal Correction And Conversational Repair Owen Marshall (Cornell University, USA) Section 5: Mediating Sound and Silence Chapter 11: Listening To or Through Technology: Opaque and Transparent Mediation Ragnhild Brøvig-Hanssen (University of Oslo, Norway) Chapter 12: Six Types of Silence Richard Osborne (Middlesex University, England) Section 6: Virtuality and Online Production Chapter 13: Intermixtuality: Case Studies in Online Music [Re]Production Samantha Bennett (Australian National University, Australia) Chapter 14: Crowdfunding and Alternative Modes of Production Mark Thorley (Coventry University, England) Index