Appendix M:
Music Production
Eli M. Noam, Production
946
Global and regional market shares of the majors (2005)
SBMG EMI UMG WMG Others
North America 23.6 10.1 28.3 14.3 23.7
Europe 22.2 17.8 26.5 11.4 22.1
Asia (exc. Japan) 18.5 8.6 16.1 10.5 46.3
Japan 21.3 11.0 10.1 6.3 51.3 Latin America 30.0 13.1 15.0 14.5 27.4 Australasia 24.4 16.0 20.9 12.5 24.0 Africa 24.2 23.6 20.9 0.0 33.1 The World 22.9 13.0 23.5 11.8 28.9 947
Music Production Time Line
• 1600s to mid-1800s
–Music boxes, player pianos, , p y p , calliopes, and other machines use pneumatic and spring-driven power to make music.
• 1600s to mid-1800s
–Advances in traditional acoustic instruments are made
Music Production Time Line
instruments are made
–Joseph Sauveur’s acoustical research leads to overtone series
–Jean Fourier develops a method of sound synthesis
of sound synthesis
–Hermann von Helmholtz begins pioneering work in acoustics
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 950
• Mid-1800s to early 1900s –Alexander Graham Bell
invents the telephone
–Thomas Edison invents the phonograph
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 951
• Mid-1800s to early 1900s –Herman Hollerith develops a
system of coding data on
Music Production Time Line
system of coding data on punched cards
–Thaddeus Cahill builds the Telharmonium
• Early 1900s to mid-1950s –The vacuum-tube oscillator
leads to the development of
Music Production Time Line
leads to the development of amplifiers, new phonographs, tape recorders, jukeboxes, and electric guitars
• Early 1900s to mid-1950s –Electric performance
Music Production Time Line
p
instruments such as the
Hammond organ, Theremin, and Ondes Martenot are created
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 954
• Mid-1950s to late 1970s
–Large main frame computers
Music Production Time Line
g p
become more common and affordable, while smaller mini computers are developed
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 955
• Mid-1950s to late 1970s
–Computer-assisted instruction
Music Production Time Line
p
from mainframe systems is found on university campuses
• Mid-1950s to late 1970s –Robert Moog and Donald
Music Production Time Line
g
Buchla develop commercially successful music synthesizers
• Mid-1950s to late 1970s
–Pitch extraction device and a mainframe computer is used to judge the pitch accuracy of melodic patterns
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 958
–Neil Deihl works with a large computer on ear training for computer on ear training for instrumentalists
–Don Bitzer develops the PLATO system
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 959
• Mid-1950s to late 1970s
–The National Consortium for Computer-Based Musical
Music Production Time Line
p
Instruction (NCCBMI) is established
• Late 1970s to 1984
–The Apple IIe personal computer is developed,
Music Production Time Line
p p ,
followed by personal computers from IBM, Atari, Radio Shack and other companies
• Late 1970s to 1984
–Micro music introduces the
Music Production Time Line
first commercial library of computer assisted instruction (CAI) software
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 962
• Late 1970s to 1984
–Computer technology becomes
Music Production Time Line
p gy
affordable enough for purchase by school systems
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 963
• Late 1970s to 1984
–Computer languages such as
Music Production Time Line
p g g
BASIC and LOGO allow students and educators to design custom software
• 1985 – 1994
–The sixteen-bit Macintosh
Music Production Time Line
platform with built-in sound emerges, new IBM follows
• 1985 – 1994
–Advances in hard disk and removable storage allow more educators to experiment with their own computer programs
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 966
• 1985 – 1994
–The MIDI (Music Instrument (
Digital Interface) protocol is introduced
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 967
• 1985 – 1994
–Laser-driven CD-ROM
Music Production Time Line
devices that can play audio CDs are developed
• 1985 – 1994
–Interactive music teaching software programs Music
Music Production Time Line
software programs Music Mouse, Band-in-a-Box, and Practica Musica becomes available
• 1985 – 1994
–The Deluxe Music Construction Set, ENIGMA, Music Printer
Music Production Time Line
Set, ENIGMA, Music Printer Plus, and Nightingale use MIDI support and laser-printing
technology for music notation
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 970
• 1985 – 1994
–Programs such as Digital Performer, Musicshop, and
Music Production Time Line
, p,
Vision help musicians and
students experiment with music production
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 971
• 1985 – 1994
–Robert Winter uses Apple’s HyperCard to design an
Music Production Time Line
HyperCard to design an interactive program on
Beethoven’s Symphony no. 9
• 1995 to Present
–Enhanced CDs are readily available for many forms of
Music Production Time Line
available for many forms of music
• 1995 to Present
–Programs such as Making g g
Music and Music Ace offer guided interactive instruction in music composition and theory
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 974
• 1995 to Present
–Smart Music and Intonation Trainer provide support and help in the teaching of
intonation
•Source: Webster, Peter. Music Educators Journal. Reston: National Association for Music Education., 2002, p.1-7. 975
• 1995 to Present
–Educators use programs such
Music Production Time Line
p g
as Peak and Sound Forge to record and process sound
• 1995 to Present
–Teaching materials, recorded
Music Production Time Line
g ,
music, and published music become available on the internet
Music Producer
• Who produces music?
–Can be the artist, somebody in the A&R department, independent
d hi d b th ti t I
Eli M. Noam, Production
978
producer hired by the artist, I.e. anybody.
•One goal – finish complete, marketable recording
Hull, Geoffrey. “Production and the A&R Function,” The Recording Industry, Needham: Allyn and Bacon, 1998.
Music Producer Functions
• Perform A&R functions by finding talented artists and material.
Eli M. Noam, Production
979 material.
• Managers of production process • Perform business functions
Profile of Typical Recording
Studio
• One control room (67 percent), are about ten years old, are equipped with MIDI (70%) are 24 tracks or more (55%) earn (70%), are 24 tracks or more (55%), earn most of their income (58%) from music recording, booked on average 180 hours per month.
Hull, Geoffrey. “Production and the A&R Function,” The Recording Industry, Needham: Allyn and Bacon, 1998.
Digital Technology in Music
Production
• Creation of tracks • Filtering & enhancingg g • Mixing