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| 005 | 20221101191407.0 | ||
| 008 | 060602s2006 mnu b s001 0 eng | ||
| 010 | _a 2005035679 | ||
| 011 | _aBIB MATCHES WORLDCAT | ||
| 020 | _a0816645175 (hc : alk. paper) | ||
| 020 | _a0816645183 (pb : alk. paper) | ||
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_aML3790 _b.A63 2006 |
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_a781.490973 _222 |
| 100 | 1 |
_aAnderson, Tim J. _91059833 |
|
| 245 | 1 | 0 |
_aMaking easy listening : _bmaterial culture and postwar American recording / _cTim J. Anderson. |
| 264 | 1 |
_aMinneapolis : _bUniversity of Minnesota Press, _c2006. |
|
| 300 | _axliv, 236 p. | ||
| 490 | 1 | _aCommerce and mass culture series | |
| 504 | _aIncludes bibliographical references and index. | ||
| 505 | 0 | 0 |
_tIntroduction : opening tracks -- _gPt. I. _tManaging the recording process and rethinking the recording bans -- _g1. _tBuried under the fecundity of his own creations : the first strike of the American federation of musicians -- _g2. _tCounterreform and resignation : the second strike of the American federation of musicians -- _gPt. II. _tProduction, reproduction, and the case of my fair lady -- _g3. _tWhich voice best becomes the property? Stitching the intertext of My Fair Lady -- _g4. _tListening to my My Fair Lady : versioning and the recorded music object -- _gPt. III. _tStereo, hi-fi, and the modern pleasures of easy listening -- _g5. _tA tale of two ears : the concert hall aesthetic and stereo -- _g6. _tSpace, the pliable frontier : stereo as the new spatial palette of audio -- _tConclusion : the flip side (and a few concluding thoughts). |
| 520 | _aThe 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. | ||
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_aPopular culture _zUnited States _xHistory _y20th century _9370602 |
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_aSound recording industry _zUnited States _xHistory _9686571 |
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_aSound recordings _xProduction and direction _zUnited States _9687013 |
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_aCommerce and mass culture series. _9241750 |
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