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Chasing sound: The culture and tech...

Horning, Susan Schmidt.

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Chasing sound: The culture and technology of recording studios in America, 1877--1977.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Chasing sound: The culture and technology of recording studios in America, 1877--1977./
作者:	Horning, Susan Schmidt.
面頁冊數:	418 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3692.
Contained By:	Dissertation Abstracts International63-10A.
標題:	History, United States. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3066035
ISBN:	9780493856681

Chasing sound: The culture and technology of recording studios in America, 1877--1977.
Horning, Susan Schmidt.

Chasing sound: The culture and technology of recording studios in America, 1877--1977. - 418 p.

Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3692.

Thesis (Ph.D.)--Case Western Reserve University, 2002.

This item must not be sold to any third party vendors.

This dissertation traces the cultural and technological evolution of recording studios in the United States from 1877 to 1977. Technologically, this study covers three important revolutions in recording methods, a transition from acoustical to electrical recording in 1925, from disk recording to magnetic tape in 1948, and the subsequent increase in technological complexity through multi-track recording. Culturally, it traces the evolution of musical styles in response to, and as a force in, this growth of recording technology. It shows how the earliest efforts to capture the sound of the live performance led ultimately to the creation of recordings that had no origin in live performance. It is a story of increasing reliance on technological intervention in the creation as well as the reception of music.

ISBN: 9780493856681Subjects--Topical Terms:

1017393
History, United States.

Chasing sound: The culture and technology of recording studios in America, 1877--1977.
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245 1 0 $a Chasing sound: The culture and technology of recording studios in America, 1877--1977.
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500 $a Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3692.
500 $a Adviser: Carroll W. Pursell.
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520 $a This dissertation traces the cultural and technological evolution of recording studios in the United States from 1877 to 1977. Technologically, this study covers three important revolutions in recording methods, a transition from acoustical to electrical recording in 1925, from disk recording to magnetic tape in 1948, and the subsequent increase in technological complexity through multi-track recording. Culturally, it traces the evolution of musical styles in response to, and as a force in, this growth of recording technology. It shows how the earliest efforts to capture the sound of the live performance led ultimately to the creation of recordings that had no origin in live performance. It is a story of increasing reliance on technological intervention in the creation as well as the reception of music.
520 $a This study draws on a body of oral interviews conducted by the author with recording engineers, record producers, musicians, arrangers, and other professionals who worked in studios ranging from major record labels to storefront operations during the 1930s through the 1970s. It also uses published materials in history, cultural studies, sociology, music history, and a variety of disciplines. Through these interviews as well as contemporary documentation, the author explores how recording engineers furthered the development of recording technology as they sought to improve the sound of records. It follows their efforts, as well as those of record producers and musicians through the 1950s and 1960s as they forged a more collaborative working relationship within the recording studio. As recording artists became more aware of how the recording studio could be used to help them achieve their musical ideas, they spent more time making records.
520 $a This study offers insight into what has historically been a very rarefied working environment. The interview subjects range from amateur enthusiasts in small recording studios to professional engineers and mixers in major record labels, revealing the rich and diverse mix of people and musical styles in the recording studio. They describe the challenges, successes and failures they encountered in their attempts to improve sound recording. Their stories vividly portray the evolution of recording technology and musical culture over a century of recorded sound.
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