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How technically enhanced studio recordings revolutionized music and the music industry. In Chasing Sound, Susan Schmidt Horning traces the cultural and technological evolution of recording studios in the United States from the first practical devices to the modern multi-track studios of the analog era. Charting the technical development of studio equipment, the professionalization of recording engineers, and the growing collaboration between artists and technicians, she shows how the earliest efforts to capture the sound of live performances eventually resulted in a trend toward studio creations that extended beyond live shows, ultimately reversing the historic relationship between live and recorded sound. Schmidt Horning draws from a wealth of original oral interviews with major labels and independent recording engineers, producers, arrangers, and musicians, as well as memoirs, technical journals, popular accounts, and sound recordings. Recording engineers and producers, she finds, influenced technological and musical change as they sought to improve the sound of records. By investigating the complex relationship between sound engineering and popular music, she reveals the increasing reliance on technological intervention in the creation as well as in the reception of music. The recording studio, she argues, is at the center of musical culture in the twentieth century.
The recording studio, she argues, is at the center of musical culture in the twentieth century.--Emily Thompson, Princeton University "Science"
(Guitar Educational). Experience must-know music knowledge and wisdom through the highly focused lens of legendary guitar virtuoso Steve Vai. This full-color instructional book written by Vai himself features in-depth discussions of the music theory fundamentals that every aspiring (and veteran) guitar player should know, packed with practical exercises, diagrams, tips, inspiring ideas and concepts, practice methods, and ways of looking at music that you may have never considered. Topics covered include: academic vs. experiential learning * reading and writing music * key signatures * chord scales * rhythm basics * guitar harmonics * modes * and much more.
(Berklee Methods). The William Leavitt Modern Method for Guitar, used as the basic text for the Berklee College of Music guitar program, has stood the test of time and earned a vast and loyal following of dedicated guitar students and instructors. By popular demand, Berklee Press has created a compilation of the original volumes 1, 2, and 3, including all audio and video tracks. Now, serious guitar students and instructors, from beginning through advanced, have the convenience of progressing through all three volumes of this classic guitar method in one comprehensive book. Innovative solos, duets, and exercises progressively teach melody, harmony, and rhythm. This edition contains audio and video produced by William Leavitt's students Charles Chapman and Larry Baione (who was his successor as chair of the Berklee Guitar Department), demonstrating the examples and providing play-along tracks for the ensemble exercises.
The negative environmental effects of media culture are not often acknowledged: the fuel required to keep huge server farms in operation, landfills full of high tech junk, and the extraction of rare minerals for devices reliant on them are just some of the hidden costs of the contemporary mediascape. Eco-Sonic Media brings an ecological critique to the history of sound media technologies in order to amplify the environmental undertones in sound studies and turn up the audio in discussions of greening the media. By looking at early and neglected forms of sound technology, Jacob Smith seeks to create a revisionist, ecologically aware history of sound media. Delving into the history of pre-electronic media like hand-cranked gramophones, comparatively eco-friendly media artifacts such as the shellac discs that preceded the use of petroleum-based vinyl, early forms of portable technology like divining rods, and even the use of songbirds as domestic music machines, Smith builds a scaffolding of historical case studies to demonstrate how "green media archaeology" can make sound studies vibrate at an ecological frequency while opening the ears of eco-criticism. Throughout this eye-opening and timely book he makes readers more aware of the costs and consequences of their personal media consumption by prompting comparisons with non-digital, non-electronic technologies and by offering different ways in which sound media can become eco-sonic media. In the process, he forges interdisciplinary connections, opens new avenues of research, and poses fresh theoretical questions for scholars and students of media, sound studies, and contemporary environmental history.
Phonopoetics tells the neglected story of early "talking records" and their significance for literature, from the 1877 invention of the phonograph to some of the first recorded performances of modernist works. The book challenges assumptions of much contemporary criticism by taking the recorded, oral performance as its primary object of analysis and by exploring the historically specific convergences between audio recording technologies, media formats, generic forms, and the institutions and practices surrounding the literary. Opening with an argument that the earliest spoken recordings were a mediated extension of Victorian reading and elocutionary culture, Jason Camlot explains the literary significance of these pre-tape era voice artifacts by analyzing early promotional fantasies about the phonograph as a new kind of speaker and detailing initiatives to deploy it as a pedagogical tool to heighten literary experience. Through historically-grounded interpretations of Dickens impersonators to recitations of Tennyson to T.S. Eliot's experimental readings of "The Waste Land" and of a great variety of voices and media in between, this first critical history of the earliest literary sound recordings offers an unusual perspective on the transition from the Victorian to modern periods and sheds new light on our own digitally mediated relationship to the past.
Whereas previous books have explored how literature depicts or discusses scientific concepts, this book argues that literature is a technology. It shows how literature has been shaped by technological revolutions, and reveals the essential work that literature has done in helping to uncover the consequences of new technologies. Individual chapters focus on how specific literary technologies – the development of writing, the printing press, typewriters, the computer – changed the kinds of stories it was possible to tell, and how one could tell them. They also cover the way that literature has engaged with non-literary technologies – clocks, compasses, trains, telegraphs, cameras, bombs, computer networks – to help its readers to work through the new social configurations and new possibilities for human identity and imagination that they unveil. Human life is inescapably mediated through technology; literature demonstrates this, and thus helps its readers to engage consciously and actively with their technological worlds.
We live in a world of talk. Yet Race Sounds argues that we need to listen more—not just hear things, but actively listen—particularly in relation to how we engage race, gender, and class differences. Forging new ideas about the relationship between race and sound, Furlonge explores how black artists—including well-known figures such as writers Ralph Ellison and Zora Neale Hurston, and singers Bettye LaVette and Aretha Franklin, among others—imagine listening. Drawing from a multimedia archive, Furlonge examines how many of the texts call on readers to “listen in print.” In the process, she gives us a new way to read and interpret these canonical, aurally inflected texts, and demonstrates how listening allows us to engage with the sonic lives of difference as readers, thinkers, and citizens. Intervening in discourses of African American and black feminist literatures, where sound and voice dominate, Furlonge shifts our attention to listening as an aural strategy of cultural, social, and civic engagement that not only enlivens how we read, write, and critique texts, but also informs how we might be more effective audiences for each other and against injustice in our midst. The result is a fascinating examination that brings new insights to African American literature and art, American literature, democratic philosophy, and sound studies.
From 1940 to 1990, new machines and devices radically changed listening to music. Small and large single records, new kinds of jukeboxes and loudspeaker systems not only made it possible to playback music in a different way, they also evidence a fundamental transformation of music and listening itself. Taking the media and machines through which listening took place during this period, Listening Devices develops a new history of listening.Although these devices were (and often still are) easily accessible, up to now we have no concept of them. To address this gap, this volume proposes the term “listening device.” In conjunction with this concept, the book develops an original and fruitful method for exploring listening as a historical subject that has been increasingly organized in relation to technology. Case studies of four listening devices are the points of departure for the analysis, which leads the reader down unfamiliar paths, traversing the popular sound worlds of 1950s rock 'n' roll culture and the disco and club culture of the 1970s and 1980s. Despite all the characteristics specific to the different listening devices, they can nevertheless be compared because of the fundamental similarities they share: they model and manage listening, they actively mediate between the listener and the music heard, and it is this mediation that brings both listener and the music listened to into being. Ultimately, however, the intention is that the listening devices themselves should not be heard so that the music they playback can be heard. Thus, they take the history of listening to its very limits and confront it with its “other”-a history of non-listening. The book proposes “listening device” as a key concept for sound studies, popular music studies, musicology, and media studies. With this conceptual key, a new, productive understanding of past music and sound cultures of the pre-digital era can be unlocked, and, not least, of the listening culture of the digital present.