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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

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–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

(3)

• 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

(4)

• 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

(5)

• 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

(6)

• 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

(7)

• 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

(8)

• 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

(9)

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

References

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