Wired for Sound: Engineering and Technologies in Sonic CulturesPaul D. Greene, Thomas Porcello Wired for Sound is the first anthology to address the role of sound engineering technologies in the shaping of contemporary global music. Wired sound is at the basis of digital audio editing, multi-track recording, and other studio practices that have powerfully impacted the world's music. Distinctions between musicians and engineers increasingly blur, making it possible for people around the globe to imagine new sounds and construct new musical aesthetics. This collection of 11 essays employs primarily ethnographical, but also historical and psychological, approaches to examine a range of new, technology-intensive musics and musical practices such as: fusions of Indian film-song rhythms, heavy metal, and gamelan in Jakarta; urban Nepali pop which juxtaposes heavy metal, Tibetan Buddhist ritual chant, rap, and Himalayan folksongs; collaborations between Australian aboriginals and sound engineers; the production of "heaviness" in heavy metal music; and the production of the "Austin sound." This anthology is must reading for anyone interested in the global character of contemporary music technology. CONTRIBUTORS: Harris M. Berger, Beverley Diamond, Cornelia Fales, Ingemar Grandin, Louise Meintjes, Frederick J. Moehn, Karl Neunfeldt, Timothy D. Taylor, Jeremy Wallach. |
Contents
Introduction Wired Sound and Sonic Cultures | 1 |
Reaching Overseas South African Sound Engineers Technology and Tradition | 23 |
The Disc Is Not the Avenue Schismogenetic Mimesis in Samba Recording | 47 |
Nigel Pegrum DidjeriduFriendly Sections and What Constitutes an Indigenous CD An Australian Case Study of Producing World Music Recordings | 84 |
Music Mediated as Live in Austin Sound Technology and Recording Practice | 103 |
Media as Social Action Native American Musicians in the Recording Studio | 118 |
Engineering TechnoHybrid Grooves in Two Indonesian Sound Studios | 138 |
ShortCircuiting Perceptual Systems Timbre in Ambient and Techno Music | 156 |
Heaviness in the Perception of Heavy Metal Guitar Timbres The Match of Perceptual and Acoustic Features over Time | 181 |
Mixed Messages Unsettled Cosmopolitanisms in Nepali Pop | 198 |
The Soundscape of the Radio Engineering Modern Songs and Superculture in Nepal | 222 |
Music and the Rise of Radio in Twenties America Technological Imperialism Socialization and the Transformation of Intimacy | 245 |
Afterword | 269 |
List of Contributors | 283 |
285 | |
Other editions - View all
Wired for Sound: Engineering and Technologies in Sonic Cultures Paul D. Greene,Thomas Porcello Limited preview - 2012 |
Wired for Sound: Engineering and Technologies in Sonic Cultures Paul D. Greene,Thomas Porcello Limited preview - 2005 |
Common terms and phrases
Aboriginal aesthetic album artists audience audio auditory Austin sound avenue band bass bateria broadcast carnival cassette Charles Keil Chicago contexts creative cultural dance dangdut dangdut remixes didj didjeridu disc distortion drum electronic ensemble ethnic Ethnomusicology example experience genre global Grandin guitar hear heavy metal Indigenous Indonesian instruments Judas Priest Kathmandu Keil keyboards listeners means mediated Meintjes melody mix music modern songs multitrack multitrack recording music industry music production musical styles musicians Native American Nepali Nepali pop Neuenfeldt Nigel noise perception pitch play popular music Porcello practices producers Radio Nepal record company recording studio rhythm rock samba enredo samba schools sambadrome Sambas de Enredo samples singer singing social sonic sound engineers soundscape South African Steven Feld surdo tech Théberge timbral timbre tion tracks traditional music University Press University Press/University Press urban vocal voice Wesleyan University Press/University western World Music York young Nepalis