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Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

The first comprehensive, fully-illustrated approach to the voice that explains the anatomy and mechanics in detailed yet down-to-earth terms, for voice users and professionals of all kinds

Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms, Third Edition explains the physical and perceptual processes that are involved in sound reproduction and demonstrates how to use the processes to create high-quality listening experiences in stereo and multichannel formats.

Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio provides a comprehensive guide to multi-channel sound. With contributions from leading recording engineers, researchers, and industry experts, Immersive Sound includes an in-depth description of the physics and psychoacoustics of spatial audio as well as practical applications. Chapters include the history of 3D sound, binaural reproduction over headphones and loudspeakers, stereo, surround sound, height channels, object-based audio, soundfield (ambisonics), wavefield synthesis, and multi-channel mixing techniques. Knowledge of the development, theory, and practice of spatial and multi-channel sound is essential to those advancing the research and applications in the rapidly evolving fields of 3D sound recording, augmented and virtual reality, gaming, film sound, music production, and post-production.

Creative practice in music, particularly in traditional concert culture, is commonly understood in terms of a rather stark division of labour between composer and performer. But this overlooks the distributed and interactive nature of the creative processes on which so much contemporary music depends.

Learn how to sample, sequence and produce your own beats and songs with Akai's new standalone touchscreen MPCs; the MPC X and MPC Live! The 'MPC X and MPC Live Bible' from MPC-Tutor is the complete guide to the MPC X & MPC Live, packed with practical, 'hands-on' beat making projects that teach you everything from core beginner's concepts all the way up to advanced power-user techniques!

The new realities are here. Virtual and Augmented realities and 360 video technologies are rapidly entering our homes and office spaces. Good quality audio has always been important to the user experience, but in the new realities, it is more than important, it’s essential. If the audio doesn’t work, the immersion of the experience fails and the cracks in the new reality start to show.

How many times have you wanted a simple, clear explanation of EQ, but instead been confused by all the endless technical jargon? How many times have you sat there scratching your head, wanting to EQ your drums, vocals and the whole mix, but not known where to start? Do you know what sound you want, but always find yourself just aimlessly twiddling knobs and hoping for the best?

Monetizing Entertainment: An Insider's Handbook for Careers in the Entertainment & Music Industry offers a thorough, guided exploration of the current state of the industry, with an emphasis on trends in copyright, digital streaming, and practical advice for developing a career as an artist, technician, or industry executive.

Shape is a concept widely used in talk about music. Musicians in classical, popular, jazz and world musics use it to help them rehearse, teach and think about what they do. Yet why is a word that seems to require something to see or to touch so useful to describe something that sounds?

Virginia Lloyd spent much of her childhood and adolescence learning and playing the piano and thought she would make a career as a pianist. When that didn't happen, she spent a long time wondering about those years of study: had they been wasted? What was their purpose? This intriguing memoir explores those questions and investigates the mystery of the author's very musical and deeply unhappy grandmother Alice, and how their lives—both at and away from the piano—intersected and diverged.

This book constitutes the refereed proceedings of the 7th International Conference on Evolutionary Computation in Combinatorial Optimization, EvoMUSART 2018, held in Parma, Italy, in April 2018, co-located with the Evo*2017 events EuroGP, EvoCOP and EvoApplications.

Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction-of which making music together is perhaps the clearest possible illustration-and then shows how the same thinking can be applied to the ostensively solitary practices of composition. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.

Musical sounds are some of the most mobile human elements, crossing national, cultural, and regional boundaries at an ever-increasing pace in the twentieth and twenty-first centuries. Whole musical products travel easily, though not necessarily intact, via musicians, CDs (and earlier, cassettes), satellite broadcasting, digital downloads, and streaming. The introductory chapter by the volume editors develops two framing metaphors: “traveling musics” and “making waves.” The wave-making metaphor illuminates the ways that traveling musics traverse flows of globalization and migration, initiating change, and generating energy of their own. Each of the nine contributors further examines music―its songs, makers, instruments, aurality, aesthetics, and images―as it crosses oceans, continents, and islands. In the process of landing in new homes, music interacts with older established cultural environments, sometimes in unexpected ways and with surprising results. They see these traveling musics in Hawai‘i, Asia, and the Pacific as “making waves”―that is, not only riding flows of globalism, but instigating ripples of change. What is the nature of those ripples? What constitutes some of the infrastructure for the wave itself? What are some of the effects of music landing on, transported to, or appropriated from distant shores? How does the Hawai‘i-Asia-Pacific context itself shape and get shaped by these musical waves? The two poetic and evocative metaphors allow the individual contributors great leeway in charting their own course while simultaneously referring back to the influence of their mentor and colleague Ricardo D. Trimillos, whom they identify as “the wave maker.” The volume attempts to position music as at once ritual and entertainment, esoteric and exoteric, tradition and creativity, within the cultural geographies of Hawai‘i, Asia, and the Pacific. In doing so, they situate music at the very core of global human endeavors.

A history of electronic music that goes way beyond the Moog Part rigorous history, part insightful commentary, and part memoir, Mad Skills tells the story behind MIDI, aka the Musical Instrument Digital Interface, through the twentieth century's kaleidoscopic lens.