Relevant bibliographies by topics / Foreign Sound Recording Industry

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Academic literature on the topic 'Foreign Sound Recording Industry'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Foreign Sound Recording Industry"

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Gronow, Pekka. "Recording the History of Recording: A Retrospective of the Field." International Journal for History, Culture and Modernity 7, no. 1 (2019): 443–57. http://dx.doi.org/10.18352/hcm.565.

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The recording industry is now over 120 years old. During the first half of its existence, however, few archives documented or collected its products. Many early recordings have been lost, and discography, the documentation of historical recordings, has mainly been in the hands of private collectors. An emphasis on genre-based discographies such as jazz or opera has often left other areas of record production in the shade. Recent years have seen a growth of national sound collections with online catalogues and at least partial online access to content. While academic historians have been slow t
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Van Nort, Doug. "Multidimensional Scratching, Sound Shaping and Triple Point." Leonardo Music Journal 20 (December 2010): 17–18. http://dx.doi.org/10.1162/lmj_a_00005.

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The author discusses performance utilizing his greis software system, which is built around the principle of a “scrubbing” interaction with roots in the recording industry and the paradigm of scrubbing tape across a magnetic head.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil dra
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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.

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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was no
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Meyer, Stephen C. "Parsifal's Aura." 19th-Century Music 33, no. 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.

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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy w
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Williams, Christopher. "The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde." Transcultural Studies 13, no. 2 (2017): 239–63. http://dx.doi.org/10.1163/23751606-01302008.

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Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave
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Kocherzhuk, D. V. "Sound recording in pop art: differencing the «remake» and «remix» musical versions." Aspects of Historical Musicology 14, no. 14 (2018): 229–44. http://dx.doi.org/10.34064/khnum2-14.15.

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Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of vi
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Siriyuvasak, Ubonrat. "Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry." Popular Music 9, no. 1 (1990): 61–77. http://dx.doi.org/10.1017/s0261143000003731.

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Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation w
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VanCour, Shawn, and Kyle Barnett. "Eat what you hear: Gustasonic discourses and the material culture of commercial sound recording." Journal of Material Culture 22, no. 1 (2017): 93–109. http://dx.doi.org/10.1177/1359183516679186.

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This article analyzes discursive linkages between acts of listening and eating within a combined multisensory regime that the authors label the gustasonic. Including both marketing discourses mobilized by the commercial music industry and representations of record consumption in popular media texts, gustasonic discourses have shaped forms and experiences of recorded sound culture from the gramophone era to the present. The authors examine three prominent modalities of gustasonic discourse: (1) discourses that position records as edible objects for physical ingestion; (2) discourses that preser
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Jhingan, Shikha. "Backpacking Sounds." Feminist Media Histories 1, no. 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.

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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with
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Dissertations / Theses on the topic "Foreign Sound Recording Industry"

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Papizzo, Brian O'Shea (Brian Thomas O'Shea). "Towards a political economy of the Canadian recording industry." Ottawa, 1993.

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Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Goh, Man-fat Joseph. "Music retailing in Hong Kong /." [Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13731105.

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Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.

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Choi, Ka-fai. "Some economics of the classical music record industry." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31938073.

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Choi, Ka-fai, and 蔡家輝. "Some economics of the classical music record industry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31938073.

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Howlett, Michael John Gilmour. "The record producer as nexus : creative inspiration, technology and the recording industry." Thesis, University of South Wales, 2009. https://pure.southwales.ac.uk/en/studentthesis/the-record-producer-as-nexus(b829aaf3-8ca1-4e8c-ab6e-f4f731644a47).html.

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What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali-like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least
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Stephens, Alexa Renee-Marie. "Atlanta's Digital Music Industry: Implications for Workforce and Economic Development." Thesis, Available online, Georgia Institute of Technology, 2007, 2007. http://etd.gatech.edu/theses/available/etd-07092007-093611/.

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Steyn, Martha Magdalena. "A supply chain model for the South African recording industry." Thesis, Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-09272005-100520.

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Bronskill, Jim (James Arnold) Carleton University Dissertation Journalism. "Sound barriers; the Canada-U.S. Free-Trade Agreement and the recording industry in Canada." Ottawa, 1992.

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Books on the topic "Foreign Sound Recording Industry"

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Corrêa, Tupã Gomes. Mercado da música: Disco e alienação. Expert, 1987.

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Campbell, Simon. English for the energy industry. Oxford University Press, 2009.

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English for the energy industry. Oxford University Press, 2009.

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English for the pharmaceutical industry. Oxford University Press, 2010.

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Rauf, Don. Recording industry. Ferguson, 2010.

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Rauf, Don. Recording industry. Ferguson, 2010.

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Hull, Geoffrey P. The recording industry. 2nd ed. Routledge, 2004.

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Hull, Geoffrey P. The recording industry. Allyn and Bacon, 1998.

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Miles, Liz. Making a recording. Raintree, 2009.

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Gronow, Pekka. The recording industry: An ethnomusicological approach. University of Tampere, 1996.

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Book chapters on the topic "Foreign Sound Recording Industry"

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Leška, Rudolf. "Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution." In Springer Series in Media Industries. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_16.

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Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the rights for cross-border use online or when phonogram producers and performers are involved, the licensing situation becomes messy which introduces significant uncertainty into the market. Instead of advocating state regulation, the author pleads for the development of cross-border industry standards and procedures, good practices and reciprocal agreements between CMOs to be developed in a collaboration of global organizations representing rightsholders.
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Brackett, David. "Foreign Music and the Emergence of Phonography." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0002.

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Chapter two begins around 1900 with a discussion of the United States music industry in the early days of sound recording, which is examined for its impact on the categorization of popular music, and the new possibilities afforded for the circulation of genre-identity relations. The category of “foreign music” emerges in response first to an interest in music of faraway places facilitated by sound recording, and then to the discovery of marketing possibilities to recent European immigrants. The subcategories of Hawaiian and Jewish music are analyzed in more detail to show how foreign music moved from an emphasis on imaginary to homologous music-identity relations by the 1920s. The category of foreign music established a model for how the music industry could be structured around the concept of homological relations (that is, a direct one-to-one correspondence) between categories of music and categories of people.
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"Copyright in Sound Recordings and Songs." In The Music Business and Recording Industry. Routledge, 2004. http://dx.doi.org/10.4324/9780203957745-8.

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"Copyright in Sound Recordings and Songs." In The Music Business and Recording Industry. Routledge, 2004. http://dx.doi.org/10.4324/9780203498330-9.

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Brackett, David. "The Newness of Old-Time Music." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0004.

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The early history of what would eventually be called “country music” drew on many of the same ideas about genre and audience that had been developed in the marketing of foreign music and race music. The idea that rural, white people from the South constituted a distinct audience led to a rapid formation of the category some three years after the initial interest in “race” music. The ambiguous social position of southern, rural white people led to difficulties in finding a convenient label for the category, although “Old-Time Music” came closest to achieving official status, and “Hillbilly Music” was used informally in the press. Old-Time Music increasingly pursued connections to mainstream popular music even while continuing to refer to an imagined rural past. One of the most successful recording artists of the 1920s, Vernon Dalhart, is used to exemplify the trajectory of Old-Time Music during the mid-1920s.
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Moreda Rodríguez, Eva. "Inventing the recording." In Inventing the Recording. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552063.003.0004.

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This chapter introduces the gabinetes fonográficos that appeared after the introduction of the Spring Motor Phonograph, Edison Home Phonograph, and Edison Standard Phonograph between 1896 and 1898; these were small recording labels which recorded their own wax cylinders employing local musicians and sold them directly to their customers, operating often precariously or for a limited amount of time. The chapter then discusses the gabinetes that were active between 1896 and 1905 in Madrid, then the main center of the nascent Spanish recording industry. The chapter examines how the Madrid gabinetes built upon ways of listening developed earlier in the decade to transform recorded sound into a commodity, and how, in doing so, they drew upon regeneracionista discourses concerning science, technology, modernity, and national identity.
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Brackett, David. "Crossover Dreams." In Categorizing Sound. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520248717.003.0008.

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This chapter focuses on the rise of the concept of “crossover” in response to the transformation of radio formats and music industry categories during the 1970s and early 1980s. Country music is examined for its close proximity to the “Adult Contemporary” radio format, and the music for the film Urban Cowboy is analyzed for how it uses a variety of country music sub-genres. The transformation of Billboard’s popularity chart from “Soul” to “Black,” and of the radio format for black popular music from “Soul” to “Urban Contemporary” is examined in relation to the almost all-white format of “Album-Oriented Rock” (“AOR”). Michael Jackson’s breakthrough album Thriller is discussed for its ability to transcend what were widely viewed as impermeable boundaries. In spite of Thriller, however, a recording such as George Clinton’s “Atomic Dog” reveals how mainstream popular music remained largely segregated at the beginning of the 1980s.
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Townsend, Peter. "Analogue or Digital Recording." In The Evolution of Music through Culture and Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0011.

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Recordings have progressed from wax to shellac, vinyl, tapes, and CDs with recent variants of downloads or streaming. In every case the sound and type of distortion are different. Nevertheless, they all have impact on every type of music and the quality of reproduction with different challenges for each genre. This chapter details many examples. There is no ideal answer because all systems produce music that is distorted from the original performance. It is a matter of personal preference as to which is favoured. Of considerable concern to the music industry—and to audiences interested in listening to classical or jazz—is the trend of the mass market pop music to be heard via streaming. This produces very poor financial returns for the industry, and to most performers. A discussion of future scenarios is timely and is included in this overview.
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Walther-Hansen, Mads. "Discourses of Recorded Sound." In Making Sense of Recordings. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197533901.003.0002.

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The chapter looks at descriptions of sound across texts and across historical contexts. Starting from the invention of the phonograph through multitrack recording to digital audio, the chapter accounts for change and stability in the way sound quality is processed in relation to discourses of sound. It shows how listeners, the industry, and other communities build specific listening preferences through the discourse of sound quality. The chapter also addresses the contributions of the phonograph, vinyl disc, cassette tape, CD, and MP3 formats to the discourse of sound, and it enumerates two cognitive metaphors, the ONE REALITY type and the MULTIPLE REALITIES type.
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Goldsmith, Thomas. "Recording “Foggy Mountain Breakdown”." In Earl Scruggs and Foggy Mountain Breakdown. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042966.003.0008.

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Flatt and Scruggs went into Herzog Studios in Cincinnati, Ohio, on December 11, 1949, to record his recently composed tune “Foggy Mountain Breakdown,” the first instrumental recording for Flatt and Scruggs. E. T. (Bud) Herzog had started the studio a few years earlier, attracting name artists such as Patti Page and Hank Williams. Producer Murray Nash used the new medium of magnetic tape recording at the sessions, almost certainly using several microphones to achieve a widely praised sound. Nash, from the Midwest, had quickly gotten up to speed on the record industry, which was growing quickly following the end of the union ban on live recording and with the postwar growth of the economy.
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