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SAE Magazine 13-3

130 PRODUCTION & KNOW HOW // ANALYSIS OF MUSIC PRODUCTION T he sociologist Simon Frith divides, from a technological perspective, the evolution of the history of music into three stages. He calls the first stage, the folk stage, defined as music stored in the human body and musical instru- ments. This music can only be retrieved through performance. In the second stage – the art stage – music is stored using musical notation and can only be retrieved through performance. In the final, pop stage, music is stored on a record, cd or cassette and is retrieved mechanically, electronically or digitally. It should be noted that nowadays, this final stage includes storage in a cloud and retrieval by stream- ing. During the first two stag revolution in storage nam musical notation, retrieva live performance. It is in this third stage whe and retrieve on a grand sc mance has become techn The technological revolu has not only made a ne possible, but has allowed creative possibilities. It has even seen the ap alongside the composer ducer, a position that be rise of Rock and Roll and position of the recording s of the creative process. The figure of producer, as charge of the final sound dergone an important evol The behind the scenes wo given way to the new ‘star associated with DJs. This new figure is often m just a computer musician. The analysis of a music pr on technological factors in tion of the sound including equalisers,compressors,m software. But how do you The interpretative and cre digital technologies have use of sheet music obso music – where many of th tion in music. The creative use of the parameters of the compressor has become a sign of identity in many music productions and must be taken into account when carrying out an academic analysis of a production.

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