The art of record production : creative practice in the studio /

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Includes bibliographical references and index.<P>Preface: A Quebecer Pioneer of Music Recording - <I>André Perry and Gérald Côté, </I>Introduction - <I>Simon Zagorski-Thomas, Katia Isakoff, Sophie Stévance and Serge Lacasse </I><B>Part 1 - The Creative Use Of Technology </B>1. Tanya Tagaq: A Cosmopolitan Artist in the Studio - <I>Sophie Stévance and Serge Lacasse </I>2. Moving at High Speed Into the Future: Notes on British Postpunk Record Production - <I>Albin Zak </I>3. Mixing with Quotation Marks: Restrictive Mashups and Contextual Transformation - <I>Ragnhild Brøvig-Hanssen </I>4. Heaviness in Three Dimensions: The Use of Sonic Space in Contemporary Metal Music Production - <I>Mark Mynett </I><B>Part 2 - The Social Interactions Of Production Activity </B>5. Who's the Producer? - <I>Mike Howlett </I>6. Random Access Changed Everything - <I>Richard James Burgess </I>7. The "Virtual" producer in the Recording Studio: Media Networks in Long Distance Peripheral Performances - <I>Isabel Campelo </I><B>Part 3 - Forms Of Theoretical Analysis </B>8. The Systems Approach to Creative Practice: The Case of Supersonic 2003-2004 - <EM>Phillip McIntyre </EM>9. What is a Jazz Record Anyway? Lennie Tristano and the Use of Extended Studio Techniques in Jazz - <I>Marian Jago </I>10. Sound Engineering in the Recording Studio as Creative Practice - <I>Paul Thompson and Phillip McIntyre </I>11. Studio Recording and World Music Making in Central America: The Case of the Garifuna <I>Paranda, </I>From Local Revival to Internationalization - <I>Ons Barnat </I>12. Haydn in Modern Dress: Applying Experimental Contemporary Production Techniques to the Classical Repertoire - <I>Simon Zagorski-Thomas</P></I>Description based on CIP data; resource not viewed.