Gender in Music Production. Edited By Russ Hepworth-Sawyer, Jay Hodgson, Liesl King and Mark Marrington. New York: Routledge, 2020. 290 pp. ISBN 9780429464515

Chapter 2 discusses the role of the producer, the concept of instrumentality, and how the recording studio has come to be conceptualized as an instrument since the mid-twentieth century. As exemplified by the practices of producers in the 1950s (Jerry Leiber and Mike Stoller) and the 1960s (Phil Spector, the Beach Boys’ Brian Wilson, and Motown’s Berry Gordy), early iterations of the studio as musical instrument entailed a collaborative process of working with musicians and studio personnel. In the early 1970s playing the studio as musical instrument took on a new meaning in the hands of Jamaican dub producers like King Tubby, who forewent working with musicians in the studio and instead reimagined and remixed prerecorded tracks by playing the equipment of the studio. This approach was furthered by hip-hop producers in New York, notably the Bomb Squad, who incorporated the sampler into their studio-playing practices. Finally, a glimpse into the practices of Max Martin demonstrates that in contemporary music production DAWs are the de facto instrument.

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Track 2

10.1093/oso/9780190296605.003.0004 ◽

2018 ◽

Author(s):

Adam Patrick Bell

Keyword(s):

New York ◽

Distinct Entity ◽

Recording Studio ◽

Tin Pan Alley ◽

Music Production ◽

Home Recording ◽

Sound Engineer ◽

Communication Breakdowns ◽

Masters Degree

Tara, a twenty-seven-year-old classically trained pianist with a masters degree in music, subscribes to the Tin Pan Alley method of music production, conceptualizing the song as a distinct entity from the recording. In search of a more polished sound than she has been able to achieve recording herself with Logic, Tara hired a friend of a friend to serve as the sound engineer for a week of home recording sessions. Battling the unflattering acoustics of a concrete loft apartment, noisy neighbors, the unapologetic New York subway, the trappings of perfectionism, and the creeping resentment that stems from communication breakdowns, Tara questioned if she would be better off going to a professional recording studio, but persevered to see her project through to the stage of mixing.

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Mixing Music: Perspective on Music Production, Russ Hepworth-Sawyer and Jay Hodgson (eds) (2017)

Journal of Popular Music Education ◽

10.1386/jpme_00039_5 ◽

2020 ◽

Vol 4 (3) ◽

pp. 396-400

Author(s):

Brendan Anthony

Keyword(s):

New York ◽

Music Production

Review of: Mixing Music: Perspective on Music Production, Russ Hepworth-Sawyer and Jay Hodgson (eds) (2017) New York: Routledge, 286 pp., ISBN 978-1-13821-873-4, p/bk, AUD 100

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Teaching Exploration of Ma Shuilong’s Ancient Chinese Poetry Art Songs – “Spring Silkworms are Dead,” “Loneliness,” and “Falling Flowers”

Journal of Contemporary Educational Research ◽

10.26689/jcer.v5i9.2509 ◽

2021 ◽

Vol 5 (9) ◽

pp. 16-19

Author(s):

Li Yue

Keyword(s):

New York ◽

Art Songs ◽

Vocal Music ◽

Chinese Art ◽

Chinese Poetry ◽

Music Production ◽

Artistic Conception ◽

Classical Poetry ◽

The Creation ◽

At Home

Ma Shuilong was a famous composer in Taiwan, both at home and abroad. In 1986, the publication of his concerto, Bangdi, made him the first Chinese composer to have a full performance at the Lincoln Arts Center in New York. In the field of vocal music production, “Ma Shuilong Songs Collection” reflected the mutual infiltration and integration of Chinese and Western elements, especially the combination of modern techniques and classical poetry so that Chinese ancient poetry art songs would emit unique artistic conception. In view of his three works, this article elaborates the oriental connotation in their creation through the study of the poetries involved and further extracts the characteristics of the creation and singing of ancient poetry art songs in order to provide significant references for the teaching of Chinese art songs.

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