This volume explores the methodological issues related to audio documentary, it also provides readers with practical guidance on how to produce their own audio projects

"The 1920s was a crucial decade for the recording industry. Large record companies existed, but across the nation there were dozens of small, independently owned and regionally-oriented labels like Black Swan, Champion, Paramount, Gennett, Starr, Okeh, and others which catered to specific genres and audiences that were at the time outside the commercial mainstream: jazz, "race records," "old time" or "hillbilly" music, local religious music traditions, and exotica from abroad that the metropolitan record companies did not-yet-see as profitable. Kyle Barnett's book seeks to tell the story of the first big wave of consolidation of the record industry, when larger labels began to take an interest in what the smaller labels were doing, the growing pains that resulted in mainstream companies having to adapt their culture to promoting artists from the margins-poor or working class "hillbillies," African-Americans-and how the coming of the Depression threatened to turn back the clock of the industry's growth. In hindsight, the evolution of the recording industry toward consolidation looks inevitable, but there is no good, synthetic history of this crucial period that gives due credit to the development of the industry, both commercially and culturally"--

Drawing on his ethnographic research at powwow grounds and in recording studios, Christopher A. Scales examines the ways that powwow drum groups have utilized recording technology in the late twentieth and early twenty-first centuries, the unique aesthetic principles of recorded powwow music, and the relationships between drum groups and the Native music labels and recording studios.

Tracing the cultural, technological, and economic shifts that shaped the transformation of the recording industry

A cultural and economic history of sound recording technology.

Studie over hoe de moderne opname- en geluidstechnieken van na de oorlog in de Verenigde Staten het idioom van de populaire muziek, inclusief beeldvorming en appreciatie, ingrijpend hebben gewijzigd.

Recording studios are the most insulated, intimate and privileged sites of music production and creativity. Yet in a world of intensified globalisation, they are also sites which are highly connected into wider networks of music production that are increasingly spanning the globe. This book is the first comprehensive account of the new spatialties of cultural production in the recording studio sector of the musical economy, spatialities that illuminate the complexities of global cultural production. This unique text adopts a social-geographical perspective to capture the multiple spatial scales of music production: from opening the "black-box" of the insulated space of the recording studio; through the wider contexts in which music production is situated; to the far-flung global production networks of which recording studios are part. Drawing on original research, recent writing on cultural production across a variety of academic disciplines, secondary sources such as popular music biographies, and including a wide range of case studies, this lively and accessible text covers a range of issues including the role of technology in musical creativity; creative collaboration and emotional labour; networking and reputation; and contemporary economic challenges to studios. As a contribution to contemporary debates on creativity, cultural production and creative labour, Cultural Production in and Beyond the Recording Studio will appeal to academic students and researchers working across the social sciences, including human geography, cultural studies, media and communication studies, sociology, as well as those studying music production courses.