Producing Music
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Cover Half Title Series Title Copyright Contents Contributor Biographies 1 Introduction Part One Music Production and Genre 2 Socio-Technical Networks and Music Production Competencies: Towards an Actor Network Theory of Hip Hop Beat-Making 3 Boom Bap Ex Machina: Hip-Hop Aesthetics and the Akai MPC 4 The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production: The Case of Heavy Metal Music 5 Antonio Carlos Jobim: The Author as Producer 6 Compost Listening: Vaporwave and the Dissection of Record Production 7 Classical Production: Situating Historically Informed Performances in Small Rooms Part Two Music Production and Technology 8 The Politics of Digitizing Analogue Recording Technologies 9 Producing Music for Immersive Audio Experiences 10 Producing 3-D Audio 11 Popular Music Production in Laptop Studios: Creative Workflows as Problem-Solving Within Ableton Live 12 Real-Time, Remote, Interactive Recording Sessions: Music Production Without Boundaries 13 Tracking With Processing and Coloring as You Go Part Three Concepts of Production 14 Working With Sound in the DAW: Towards a New Materiality of the Audio-Object 15 Coproduction: Towards a Typology of Collaborative Practice in Music Production 16 Narrative and the Art of Record Production Part Four The Context of Production 17 “Clever” Tools and Social Technologies: To What Extent Does Wider Access to Technology Necessitate a Step Change in Approaches to Teaching Music Production? 18 Contemporary Production Success: A Roundtable Discussion With Mid-Career Music Production Professionals 19 Conversations With Women in Music Production Index
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