TY  - BOOK
AU  - Anderson,Tim J.
TI  - Making easy listening: material culture and postwar American recording 
T2  - Commerce and mass culture series
SN  - 0816645175 (hc : alk. paper)
AV  - ML3790 .A63 2006
U1  - 781.490973 22
PY  - 2006///
CY  - Minneapolis
PB  - University of Minnesota Press
KW  - Popular culture
KW  - United States
KW  - History
KW  - 20th century
KW  - Sound recording industry
KW  - Sound recordings
KW  - Production and direction
N1  - Includes bibliographical references and index; Introduction : opening tracks --; Pt. I; Managing the recording process and rethinking the recording bans --; 1; Buried under the fecundity of his own creations : the first strike of the American federation of musicians --; 2; Counterreform and resignation : the second strike of the American federation of musicians --; Pt. II; Production, reproduction, and the case of my fair lady --; 3; Which voice best becomes the property? Stitching the intertext of My Fair Lady --; 4; Listening to my My Fair Lady : versioning and the recorded music object --; Pt. III; Stereo, hi-fi, and the modern pleasures of easy listening --; 5; A tale of two ears : the concert hall aesthetic and stereo --; 6; Space, the pliable frontier : stereo as the new spatial palette of audio --; Conclusion : the flip side (and a few concluding thoughts)
N2  - The period between the Second World War and the mid-1960s saw the American music industry engaged in a fundamental transformation in how music was produced and experienced. Tim Anderson analyzes three sites of this music revolution: the change from a business centered around live performances to one based on selling records, the custom of simultaneously bringing out multiple versions of the same song, and the arrival of in-home high-fidelity stereo systems. Making Easy Listening presents a social and cultural history of the contentious, diverse, and experimental culture of musical production and enjoyment that aims to understand how recording technologies fit into and influence musicians', as well as listeners', lives. With attention to the details of what it means to play a particular record in a distinct cultural context, Anderson connects neglected genres of the musical canon - classical and easy listening music, Broadway musicals, and sound effects records - with the development of sound aesthetics and technical music practices that leave an indelible imprint on individuals. Tracing the countless impacts that this period of innovation exacted on the mass media, Anderson reveals how an examination of this historical era - and recorded music as an object - furthers a deeper understanding of the present-day American music industry
ER  -