Hui, Alexandra (Author)
Kursell, Julia (Author)
Jackson, Myles W. (Author)
Music and science have a long common history dating back to the ancient Greeks. This shared history became uncoupled some time in the late nineteenth century, as music ceased to be the most important source of sound that could be subjected to investigation. Knowledge of sound always relies on some form of medium---that is, a way to store, transmit, transform, manipulate, and encode or decode sound. Until the second half of the nineteenth century, the techniques and practices of producing, describing, and reproducing sounds had been the most developed in music, and scientists, engineers, and musicians were engaged in similar, reciprocal projects. Music remained privileged as an object of acoustic investigation, driven in part by the bourgeois culture of music that flourished during the nineteenth century, especially in central Europe, and created a public of listeners and producers of musical sounds. Yet, at the same time, scientists and engineers broadened the scope of investigation beyond music, to sound, with new mathematical tools, new fields of experimental inquiry, and eventually new media technologies, most often located in laboratories. Music continued to frame the interaction among scientists, engineers, and musicians, and, though perhaps less immediately apparent, this reciprocal engagement has continued, over time becoming more intricate, intriguing, and historically informative.
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Book
Horning, Susan Schmidt;
(2013)
Chasing Sound: Technology, Culture, and the Art of Studio Recording from Edison to the LP
(/isis/citation/CBB001213164/)
Chapter
Naeem, Asma;
(2012)
Splitting Sight and Sound: Thomas Dewing's a Reading, Gilded Age Women, and the Phonograph
(/isis/citation/CBB001421308/)
Chapter
Sean Williams;
(2016)
Tubby’s Dub Style: The Live Art of Record Production
(/isis/citation/CBB358687756/)
Chapter
Paul Théberge;
(2016)
The End of the World as We Know It: The Changing Role of the Studio in the Age of the Internet
(/isis/citation/CBB210136963/)
Chapter
Jan Fairley;
Alexandrine Boudreault-Fournier;
(2016)
Recording the Revolution: 50 Years of Music Studios in Revolutionary Cuba
(/isis/citation/CBB020201172/)
Book
Hui, Alexandra;
(2013)
The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840--1910
(/isis/citation/CBB001214629/)
Chapter
Michael Jarrett;
(2016)
The Self-Effacing Producer: Absence Summons Presence
(/isis/citation/CBB712436826/)
Chapter
Simon Frith;
Simon Zagorski-Thomas;
(2016)
Introduction
(/isis/citation/CBB542549707/)
Chapter
Andrew Blake;
(2016)
Simulating the Ideal Performance: Suvi Raj Grubb and Classical Music Production
(/isis/citation/CBB162963806/)
Chapter
(2016)
Interlude 2: Comments and Commentaries by Industry Professionals and Producers
(/isis/citation/CBB088871049/)
Chapter
Simon Frith;
(2016)
The Place of the Producer in the Discourse of Rock
(/isis/citation/CBB260389967/)
Article
Stefan Krebs;
(2017)
The Failure of Binaural Stereo: German Sound Engineers and the Introduction of Artificial Head Microphones
(/isis/citation/CBB007112913/)
Chapter
Phillip McIntyre;
(2016)
Rethinking Creativity: Record Production and the Systems Model
(/isis/citation/CBB475801547/)
Chapter
Zak, Albin, III;
(2016)
No-Fi: Crafting a Language of Recorded Music in 1950s Pop
(/isis/citation/CBB848504039/)
Chapter
George Brock-Nannestad;
(2016)
The Lacquer Disc for Immediate Playback: Professional Recording and Home Recording from the 1920s to the 1950s
(/isis/citation/CBB419674176/)
Book
Sterne, Jonathan;
(2012)
MP3: The Meaning of a Format
(/isis/citation/CBB001320969/)
Thesis
Magoun, Alexander Boyden;
(2000)
Shaping the Sound of Music: The Evolution of the Phonograph Record, 1877--1950
(/isis/citation/CBB001562561/)
Article
Rawson, Eric;
(2006)
Perfect Listening: Audiophilia, Ambiguity, and the Reduction of the Arbitrary
(/isis/citation/CBB000660256/)
Chapter
Simon Zagorski-Thomas;
(2016)
The US vs the UK Sound: Meaning in Music Production in the 1970s
(/isis/citation/CBB630134209/)
Chapter
William Moylan;
(2016)
Considering Space in Recorded Music
(/isis/citation/CBB929905273/)
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