Recording Culture

Recording Culture: Audio Documentary and the Ethnographic Experience is the first book to explore audio documentary as a research method. Authors Daniel Makagon and Mark Neumann demonstrate that audio documentary based in the practices of fieldwork increases the potential for researchers to reach academic and popular audiences and work collaboratively with people in the pursuit and representation of knowledge and experience. Key Features Encourages readers to critically listen to their sites of analysis and the people they study Offers an ethnographic alternative that moves beyond the written form Provides researchers with a broader historical context for recording culture projects Offers students a better sense of ethnography's relationship to popular documentary fieldwork Includes creative sonic fieldwork projects Demonstrates how audio documentary as a qualitative fieldwork practice can be connected to public life and community-building as citizen storytelling Offers a practical guide to getting started in the Appendix Recording Culture: Audio Documentary and the Ethnographic Experience is paired with a companion Web site at www.recordingculture.org that contains links to exemplary audio ethnographies.

Drawing on his ethnographic research at powwow grounds and in recording studios, Christopher A. Scales examines the ways that powwow drum groups have utilized recording technology in the late twentieth and early twenty-first centuries, the unique aesthetic principles of recorded powwow music, and the relationships between drum groups and the Native music labels and recording studios.

Tracing the cultural, technological, and economic shifts that shaped the transformation of the recording industry

Studie over hoe de moderne opname- en geluidstechnieken van na de oorlog in de Verenigde Staten het idioom van de populaire muziek, inclusief beeldvorming en appreciatie, ingrijpend hebben gewijzigd.

A cultural and economic history of sound recording technology.

Recording studios are the most insulated, intimate and privileged sites of music production and creativity. Yet in a world of intensified globalisation, they are also sites which are highly connected into wider networks of music production that are increasingly spanning the globe. This book is the first comprehensive account of the new spatialties of cultural production in the recording studio sector of the musical economy, spatialities that illuminate the complexities of global cultural production. This unique text adopts a social-geographical perspective to capture the multiple spatial scales of music production: from opening the "black-box" of the insulated space of the recording studio; through the wider contexts in which music production is situated; to the far-flung global production networks of which recording studios are part. Drawing on original research, recent writing on cultural production across a variety of academic disciplines, secondary sources such as popular music biographies, and including a wide range of case studies, this lively and accessible text covers a range of issues including the role of technology in musical creativity; creative collaboration and emotional labour; networking and reputation; and contemporary economic challenges to studios. As a contribution to contemporary debates on creativity, cultural production and creative labour, Cultural Production in and Beyond the Recording Studio will appeal to academic students and researchers working across the social sciences, including human geography, cultural studies, media and communication studies, sociology, as well as those studying music production courses.

Inventing the Recording focuses on the decades in which recorded sound went from a technological possibility to a commercial and cultural artefact. Through the analysis of a specific and unique national context, author Eva Moreda Rodríguez tells the stories of institutions and individuals in Spain and discusses the development of discourses and ideas in close connection with national concerns and debates, all while paying close attention to original recordings from this era. The book starts with the arrival in Spain of notices about Edison's invention of the phonograph in 1877, followed by the first demonstrations of the invention (1878-1882) by scientists and showmen. These demonstrations greatly stimulated the imagination of scientists, journalists and playwrights, who spent the rest of the 1880s speculating about the phonograph and its potential to revolutionize society once it was properly developed and marketed. The book then moves on to analyse the 'traveling phonographs' and salones fonográficos of the 1890s and early 1900s, with phonographs being paraded around Spain and exhibited in group listening sessions in theatres, private homes and social spaces pertaining to different social classes. Finally, the book covers the development of an indigenous recording industry dominated by the so-called gabinetes fonográficos, small businesses that sold imported phonographs, produced their own recordings, and shaped early discourses about commercial phonography and the record as a commodity between 1896 and 1905.

With Wayne Bennett From the silky wax qualities of the surfaces of some quartz menhirs to the wood-grain textures of others, to the golden honeycombed limestones of Malta, to the icy frozen waves of the Cambrian sandstone of south-east Sweden, this book investigates the sensuous material qualities of stone. Tactile sensations, sonorous qualities, colour, and visual impressions are all shown to play a vital part in our understanding of the power and significance of prehistoric monuments in relation to their landscapes. In The Materiality of Stone, Christopher Tilley presents a radically new way of analyzing the significance of both 'cultural' and 'natural' stone in prehistoric European landscapes. Tilley's groundbreaking approach is to interpret human experience in a multidimensional and sensuous human way, rather than through an abstract analytical gaze. The studies range widely from the menhirs of prehistoric Brittany to Maltese Neolithic temples to Bronze Age rock carvings and cairns in southern Sweden. Tilley leaves no stone unturned as he also considers how the internal spaces and landscape settings are interpreted in relation to artifacts, substances, and related places that were deeply meaningful to the people who inhabited them and remain no less evocative today. In its innovative approach to understanding human experience through the tangible rocks and stone of our past, The Materiality of Stone is both a major theoretical and substantive contribution to the field of material culture studies and the study of European prehistory.