Pop Music: Technology and Creativity - Trevor Horn and the Digital Revolution (Ashgate Popular and Folk Music Series)
Pop Music: Technology and Creativity - Trevor Horn and the Digital Revolution (Ashgate Popular and Folk Music Series)
Customer Review: It Ain?t What You Do, It?s the Way That You Do It
The first paragraph of this excellent book says it all :
“This book is intended for all those - students and teachers, specialists and non-specialists alike - who wish to approach pop music as an artistic, and not primarily as a social, cultural or historical phenomenon. Its main argument is that musical creativity in pop music is inextricably bound to developments in audio technology and the working practices which ensue. Because of the strength of this relationship, pop music differs in a number of important and significant ways from other kinds of popular music. This aspect is exemplified in this study through analysis of several recordings by Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s.”
Clearly the book is not about Trevor Horn: the book discusses the close relationships between technology and creativity in the case of pop music and uses some of Mr. Horn’s work to exemplify those ideas. Trivia buffs with a yen to know whether he works with a Chipmunk 451 or a Pinky and Perky 452 will undoubtedly prefer books in the style of Howard Massey’s where such gratuitous urges are amply satisfied. For those of a more enquiring mind who prefer to ask ‘why’ rather than ‘what’; who prefer a book couched in unusually accessible academic prose rather than a list of supernumerary studio equipment; to those who are party to the secret that “It Ain’t What You Do, It’s the Way That You Do It”; then this book is for you. That said, there is actually plenty of information on the equipment Mr. Horn uses and, more importantly, to what creative purpose.
For the serious student and for the teacher of popular music, the book is replete with a wealth of original insight and incisive analysis that ranges from visual to musicological to technical (the latter including, for the uninitiated, useful definitions of terminology such as compression). Worth mentioning are the points made on sampling. Prima facie, sampling may seem to be the final nail in the coffin of human musicality; a dry digital technique capable of replicating ad infinitum and with machine-tooled precision the utmost nuance of the human musical experience. To Warner though, samples and samplers offer “ways of countering the sonic impact of purely machine-driven and machine-generated music” and “their imperfections provide their aesthetic significance”.
The book’s author is quite right when he pinpoints that textual analysis of popular/pop music has suffered as a result of the dominance of cultural studies and is forthright in making the case that pop music is a worthy subject for textual academic study. Furthermore, the central thesis that technology is inextricably bound to creativity in pop music marks an important new departure in the academic study of popular music. Certainly, there have been writings on the use of or development of technology in the recording industry (Chanan for example), but these tend to be historical. There have been textual analyses of pop music (Tagg etc.), but these have ignored or bypassed the influence of technology. It would not be stretching a point too far to say that Timothy Warner’s book is the first major work to provide the spark in the gap missing in previous endeavours. For that fact alone the book is to be both commended and recommended.
Finally, a cat among the pigeons quote from Trevor Horn in response to the question that forms the crux of the book Is pop music a fundamentally technological art form?: “Yeah. That’s a fascinating question. In a lot of respects, even though the classical - you know the straight music people - might fancy themselves, we’ve got them fucking licked…”.
Good reading!
Customer Review: Definitely a ?must?.
Pop Music, Technology and Creativity is the most original and wide-ranging book on pop music I have ever read. While focusing on the use of technology, which Warner considers to be one of the distinctive traits of pop music, this book is obviously not intended for the ? techies ?. Warner is careful to avoid all unnecessary jargon, and technology is always discussed in terms of its creative potential - never in a vacuum.
One of the many strengths of this extremely well informed book is that pop music is seen as a complex and multifaceted artefact produced by people who are both commercially aware and aesthetically motivated. Trevor Horn is a particularly good example of this, as confirmed by the long interview with him that concludes the book.
But this is not a book about Trevor Horn; it is about pop music and British pop music in particular. The seven recordings carefully analysed by Warner serve to highlight one or more interesting aspects of pop such as: the way in which the complexity of the production techniques can be reflected in the lyrics (’Video Killed the Radio Star’); scratching and sampling, and all their implications (McLaren’s ‘Buffalo Gals’); the interaction between performer and producer (’Owner of a Lonely Heart’); the use of repetition and the importance of remixes (’Relax’); the manipulation of timbre and space (Who’s afraid of the Art of Noise) ; the merits of the sequencer (Propaganda) ; the use of the Fairlight (Slave to the Rhythm), etc.
Far from being a narrow, self-contained, unit, each of the analytical chapters echoes and/or develops points touched upon previously. Furthermore Warner is always happy to elaborate on the wider musical implications of the points he makes and never ignores the visual or cultural aspects of the final product.
The result is a rich, subtle and multifaceted book which may irritate and frustrate readers with narrow expectations, but which I found well written, informative, full of surprises and highly stimulating. Definitely a ‘must’.
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MTV | Pop Music Videos | Streaming Video Premieres, Online TRL …
Producing Pop: Culture and Conflict in the Popular Music Industry
Producing Pop: Culture and Conflict in the Popular Music Industry
Customer Review: want to get ahead in the music business you need this
Negus has by now put his name to several books about the music business. This is the first book of two (Music Genres and Corporate Structures -the follow up) to give you a good and thorough introduction to the ins and outs of the business. If you want to work in the music business this is essential reading. It will give you a head start and make you comfortable when you go to apply for a job as you will know how the different parts of the company works. It is a very academic book but well worth a read.
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Girl Talk's Pop-Music Car-Wreck - Status Ain't Hood - Village Voice
Sing Pop Ballads -Music Book + CD
Sing Pop Ballads -Music Book + CD
Sing the best pop ballads from Whitney Houston, Celine Dion and Atomic Kitten with this book and CD package. Includes specially recorded ’soundalike’ backing tracks CD. The book contains full lyrics and melody line notation
Contents
Eternal Flame [Atomic Kitten]
I Will Always Love You [Houston, Whitney]
Perfect Moment [Mccutcheon, Martine]
Show Me Heaven [Mckee, Maria]
Think Twice [Dion, Celine]
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The Phantom of the Opera (Medley) Sheet Music (Pop Chorals Series)
The Phantom of the Opera (Medley) Sheet Music (Pop Chorals Series)
A combined arrangement of the songs;- The Phantom Of The Opera, Think Of Me, Angel Of Music, All I Ask Of You, Wishing You Were Somehow Here Again and The Point Of No return. A MEDLEY.
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Pop the Question Soul, Funk & Hip-Hop (Music Games)
Pop the Question Soul, Funk & Hip-Hop (Music Games)
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This Pitchfork has a point
Loud pop music in bars makes people drink more and down it more quickly, a study in France has shown. Researchers watched young men who had ordered a glass …
The Amazing Pop-Up Music Book (Amazing Pop-Ups)
The Amazing Pop-Up Music Book (Amazing Pop-Ups)
Customer Review: Teaching kids to read music!
I am a music teacher and always on the look out for ways to teach children how to read music, especially younger children who struggle with the idea of ‘why’, as opposed to ‘how’! I picked up a copy of this by chance and am very impressed indeed; although the format is a little busy, the illustrations and layout make it ideal for teaching younger children about the basic musical elements, even if as a teacher you feel you understand little yourself. The back page contains a tiny electronic keyboard and the pop up aspects are fantastic - move the tab and watch the notes move as you play them to see how pitch works, use the ideas in the first section to create little rhythm patterns and dip in and out of it to demonstrate or to simply learn yourself! This book basically presents the idea of reading music as something fun, rather than something dry that you need to be able to do (rather than actually want to understand) before the actual fun starts. I would recommend this book for teachers, children and parents alike, and possibly even for the nervous adult beginner too mystified by the archaic language of music to have a go! It only covers the basics, but it is set out in such a way that more complicated musical theory seems understandible and achievable if your interest is caught. The problem with some ‘learn how to do music’ books is that they are too heavy going - this is fun, informative and really nicely presented. With this book both children and adults could achieve a feeling that the ‘how’ can be as natural as the ‘why’!
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