Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. The story of the compact disc is also the story of the end of physical media. It is the story of how the quest for perfection laid the grounds for the death of a great industry. For in the passage from analogue media, like records and tapes, to digital media, like CDs, something changed in the nature of media and in the relationship we have with music. Music became code, a sequence of 1s and 0s. A flow of pure information. The material structure of the medium itself was always supposed to disappear. But the physical has proved to possess an uncanny knack for returning. The CD was killed in the 90s - first by emphasizing its physical nature, later by removing it altogether. But today the CD persists - a zombie medium, still popular amongst certain avantgarde record labels and Japanese consumers. Against all the odds, the spectre persists. Object Lessons is published in partnership with an essay series in the The Atlantic"--

Compact discs --- Sound recordings --- Sound --- History. --- Recording and reproducing

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"'"The last few years have seen not just a revival but a rebirth of the analogue record. Much more than merely a nostalgic craze, vinyl has become a cultural icon. While vinyl never ceased to be the key format for many music lovers and DJs, for two decades the recording industry perceived it as outdated, consigned to dusty domestic spaces and obscure record shops. Yet the seemingly obsolete vinyl has become the fastest growing medium in music sales. Using a cultural sociology framework combined with insights from material and visual culture studies, Dominik Bartmanski and Ian Woodward present vinyl as a multifaceted cultural object and explore the reasons for its persistence within technologically accelerated cultures. The book is informed by media analysis, urban ethnography and interviews with musicians, DJs, record store owners, boutique label chiefs and collectors within a range of urban centres renowned for thriving music scenes, including Melbourne, London, New York, Tokyo and Berlin"--Provided by publisher."--Bloomsbury Publishing.

Sound recordings --- Sound recording industry --- Music --- Social aspects --- Consumer behavior --- Sociology of culture --- Audio discs --- Audio recordings --- Audiorecordings --- Discs, Audio --- Discs, Sound --- Disks, Sound --- Phonodiscs --- Phonograph records --- Phonorecords --- Recordings, Audio --- Recordings, Sound --- Records, Phonograph --- Records, Sound --- Sound discs --- Audio-visual materials --- Social aspects. --- Sound recordings - Social aspects --- Music - Social aspects --- Sound recording industry.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

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.

Sound recordings --- Musical perception. --- Grabaciones sonoras --- Percepción musical. --- Musikinspelningar. --- Musikinspelning. --- Production and direction --- Philosophy and aesthetics. --- Psychological aspects. --- Producción y dirección --- Aspectos psicológicos. --- Musical perception --- Auditory perception --- Music --- Audio discs --- Audio recordings --- Audiorecordings --- Discs, Audio --- Discs, Sound --- Disks, Sound --- Phonodiscs --- Phonograph records --- Phonorecords --- Recordings, Audio --- Recordings, Sound --- Records, Phonograph --- Records, Sound --- Sound discs --- Audio-visual materials --- Psychological aspects

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early “songcatchers” were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the ‘other’ that made them.In Modernity’s Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity’s Ear ultimately explores the importance of pleasure in constituting the listening self.

Music and race. --- Sound recordings --- World music --- Race and music --- Race --- Audio discs --- Audio recordings --- Audiorecordings --- Discs, Audio --- Discs, Sound --- Disks, Sound --- Phonodiscs --- Phonograph records --- Phonorecords --- Recordings, Audio --- Recordings, Sound --- Records, Phonograph --- Records, Sound --- Sound discs --- Audio-visual materials --- Music --- Social aspects. --- Global music

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Sound recordings --- Sound recording libraries --- Archives sonores --- Archives audiovisuelles --- Enregistrements sonores --- Phonothèques --- Sound recording libraries. --- Sound recordings. --- Archives and archiving - Sound. --- Audio discs --- Audio recordings --- Audiorecordings --- Discs, Audio --- Discs, Sound --- Disks, Sound --- Phonodiscs --- Phonograph records --- Phonorecords --- Recordings, Audio --- Recordings, Sound --- Records, Phonograph --- Records, Sound --- Sound discs --- Audio-visual materials --- Phonorecord libraries --- Record collections (Sound recordings) --- Sound recording collections --- Special libraries --- Sound archives