La producción musicalun reto para la musicología del s.XXI

  1. MARCO ANTONIO JUAN DE DIOS CUARTAS
  2. JORDI ROQUER GONZÁLEZ
Revista:
Etno: Cuadernos de Etnomusicología

ISSN: 2014-4660

Año de publicación: 2020

Volumen: 15

Número: 2

Páginas: 43-56

Tipo: Artículo

Otras publicaciones en: Etno: Cuadernos de Etnomusicología

Referencias bibliográficas

  • Askerøi, Eirik. 2013. Reading Pop Production. Sonic Markers and Musical Identity (Tesis doctoral). Universidad de Adger, Kristiansand.
  • Bates, Eliot. 2016. Digital Tradition: Arrangement and Labor in Istanbul's Recording Studio Culture. New York: Oxford University Press.
  • Bracket, David. 1995. Interpreting Popular Music. Cambridge: Cambridge University Press.
  • Frith, Simon; Zagorski-Thomas, Simon (eds.). 2012. The Art of Record Production: An Introductory Reader for a New Academic Field. Farnham: Ashgate.
  • Frith, Simon; Zagorski-Thomas, Simon (eds.). 1988. “El arte frente a la tecnología: el extraño caso de la música popular”. Papers: revista de sociología Vol. 29; pp. 178-196. Disponible online: http://papers.uab.cat/article/view/v29-frith/pdf-es [Consultado: 10/12/2020]
  • Frith, Simon; Zagorski-Thomas, Simon (eds.). 1998. Performing Rites: On the Value of Popular Music. Cambridge: Harvard University Press.
  • Frith, Simon; Zagorski-Thomas, Simon (eds.). (2012). “The Place of the Producer in the Discourse of Rock”. En S. Zagorski-Thomas y S. Frith, eds.,The Art of Record Production: an Introductory Reader to a New Academic Field. Farnham: Ashgate Publishing Limited, pp. 207–222.
  • Goodwin, Andrew. 1988. “Sample and hold: pop music in the digital age of reproduction”. En: Critical Quarterly, vol. 30, nº 3; pp. 34-49.
  • Hennion, Antoine. 1983. “The Production of Success: An Anti-Musicology of the Pop Song”. Popular Music, Vol. 3, pp. 159-193.
  • Hennion, Antoine. 1989. “An Intermediary between Production and Consumption: The Producer of Popular Music”. En: Science, Technology and Human Values, vol. 14, nº 4; pp. 400-424.
  • Katz, Mark. 2010. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press.
  • Kvifte, Tellef. 2010. “Composing a performance: The analogue experience in the age of digital (re) production”. En Musical Rhythm in the Age of Digital Reproduction, pp. 213– 230. Londres: Routledge.
  • Meintjes, Louise. 2009. “The politics of the recording studio: A case study from South Africa,” en Cook, N., Clarke, E., Leech-Wilkinson, D., and Rink, J. (eds) The Cambridge Companion to Recorded Music, pp. 84–97. Cambridge: Cambridge University Press (Cambridge Companions to Music).
  • Pinch, Trevor; Reinecke, David. 2009. “Technostalgia: How old gear lives on in new music”. Sound souvenirs: Audio technologies, memory and cultural practices 2: p. 152.
  • Tagg, Philip. 1982. “Analysing Popular Music”. En Popular Music, 2, pp. 37–67. Cambridge University Press.
  • Tagg, Philip. 2013. Music’s Meanings: A Modern Musicology for Non-Musos. New York: The Mass Media Music Scholars Press.
  • Thebérge, Paul. 1997. Any Sound You Can Imagine: Making Music/Consuming Technology. Middletown: Wesleyan University Press.
  • Van der Heijden, Tim. 2015. “Technostalgia of the present: From technologies of memory to a memory of technologies”. NECSUS. European Journal of Media Studies 4, n.o 2: pp. 103–121.
  • Zagorski-Thomas, Simon. 2007. “The Musicology of Record Production”. En: Twentieth-Century Music, 4 (2), pp.189-207. Cambridge University Press. Disponible en: http://journals.cambridge.org/action/displayIssue?jid=TCM&volumeId=4&seriesId =0&issueId=02. [Consultado: 16/12/20]
  • Zagorski-Thomas, Simon. 2010. “Real and Unreal Performances: The Interaction of Recording Technology and Rock Drum Kit Performance”. En A. Danielsen, ed., Rhythm in the Age of Digital Reproduction. Farnham: Ashgate Publishing Limited, pp. 195–212.
  • Zagorski-Thomas, Simon. 2014. The Musicology of Record Production. Cambridge: Cambridge University Press.