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Social interactions, musical arrangement, and the production of digital audio in Istanbul recording studios.

机译：伊斯坦布尔录音棚的社交互动，音乐编排和数字音频制作。

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摘要

This ethnography of recording studio work shows both the importance of the non-musical in shaping systems of musical practice, and the extent to which traditional music practices (including Anatolian ethnic, Turkish folk, Karadeniz, and Ottoman art musics) now exist within and are created through a cutting-edge digital audio production system. I examine social interactions , which include both the macro-scale social networks and institutional culture of record labels, studios and temporary production networks; and the micro-scale interactions between arrangers, audio engineers, and studio musicians that comprise most of the work of recording production. I connect social interactions with musical arrangement and engineering, which concern not only the orchestration techniques of professional arrangers and editing and mixing work of engineers, but more broadly a century-long history of collecting and adapting folkloric resources towards the creation of new works with specific cultural and aesthetic meanings.;Post-2000 Istanbul studios are primarily engaged with the production of digital audio. Although much of production work draws on musical knowledges and techniques, similar practices are used for creating arranged sounds without a musical value (such as film sound), and therefore a cross-pollination between musical and non-musical sound production has emerged. I also emphasize the digital aspect of recording to show the similarity, in terms of the software interface and the nature of the final deliverable product, to other kinds of digital content authoring, as digital workflows have come to have considerable implications for contemporary conceptualizations and productions of traditional musics.;After analyzing specific case studies drawn from ethnographic research conducted in 2004--2007 in the Turkish recording industry, I suggest a general theory for the study of recording production practice. This comprises four key components: interrogating the relation between digital audio and music in specific production contexts, considering multitrack production work with regard to newly emergent kinds of sensory configurations, investigating the uses of technology towards particular goals while continuously linking technological manipulations with musical practice and social forces, and using unique kinds of data such as DAW session files for analytical work.
机译：这张录音棚工作的人种志既显示了非音乐在塑造音乐实践体系中的重要性，也表明了传统音乐实践（包括安纳托利亚民族音乐，土耳其民族音乐，卡拉德尼兹音乐和奥斯曼艺术音乐）现在存在和​​存在的程度。通过尖端的数字音频制作系统创建。我研究了社会互动，包括宏观社会网络和唱片公司，工作室和临时制作网络的制度文化；以及编曲，音频工程师和录音室音乐家之间的微观互动，这些互动构成了唱片制作的大部分工作。我将社交互动与音乐编排和工程联系在一起，这不仅涉及专业编曲的编排技术以及工程师的编辑和混合工作，而且涉及更广泛的收集和调整民俗资源以创作具有特定意义的新作品的长达一个世纪的历史。文化和美学意义。2000年后的伊斯坦布尔工作室主要从事数字音频的制作。尽管许多制作工作都利用音乐知识和技术，但类似的做法可用于创建没有音乐价值的编排声音（例如电影声音），因此音乐和非音乐声音制作之间出现了交叉授粉。我还强调记录的数字方面，以显示软件接口和最终交付产品的性质与其他类型的数字内容创作的相似性，因为数字工作流程已对当代概念化和生产产生了重大影响在分析了2004--2007年土耳其唱片业的人种学研究得出的特定案例研究之后，我提出了有关唱片生产实践研究的一般理论。这包括四个关键部分：在特定的生产环境中询问数字音频和音乐之间的关系，考虑与新出现的感官配置有关的多轨生产工作，调查针对特定目标的技术使用，同时将技术操纵与音乐实践和技术联系在一起。社会力量，并使用诸如DAW会话文件之类的独特数据进行分析工作。

著录项

  • 作者

    Bates, Eliot.;

  • 作者单位

    University of California, Berkeley.;

  • 授予单位 University of California, Berkeley.;
  • 学科 Anthropology Cultural.;Sociology Organizational.;Music.
  • 学位 Ph.D.
  • 年度 2008
  • 页码 341 p.
  • 总页数 341
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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