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Push Software Design and the Cultural Politics of Music Production Mike D'Errico
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Ubicado en: Macon, Georgia, Estados Unidos
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N.º de artículo de eBay:305171273973
Última actualización el 04 jun 2025 18:41:28 H.EspVer todas las actualizacionesVer todas las actualizaciones
Características del artículo
- Estado
- En muy buen estado
- Notas del vendedor
- “light edge wear to covers, light crinkle in lower margins, appears unmarked”
- ISBN
- 9780190943318
Acerca de este producto
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0190943319
ISBN-13
9780190943318
eBay Product ID (ePID)
13050025060
Product Key Features
Number of Pages
336 Pages
Publication Name
Push : Software Design and the Cultural Politics of Music Production
Language
English
Publication Year
2022
Subject
History & Criticism, Film / General, Television / General, Acoustics & Sound
Type
Textbook
Subject Area
Music, Performing Arts, Technology & Engineering
Format
Trade Paperback
Dimensions
Item Height
0.9 in
Item Weight
16.8 Oz
Item Length
8.9 in
Item Width
5.9 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2021-033940
Dewey Edition
23
Reviews
"A thoughtful and comprehensive look at digital musicianship in all its many layers and contexts." -- Erin Barra, Director of Popular Music and Assistant Professor, Arizona State University, "A thoughtful and comprehensive look at digital musicianship in all its many layers and contexts." -- Erin Barra, Director of Popular Music and Assistant Professor, Arizona State University"In this book, D'Errico (Albright College) examines Push technology, not just its evolution and technical background but also the gender gap among its users and the fact that a technical background is not required to produce music with it. D'Errico introduces many popular DAWs, such as FL Studio, Pro Tools, and Ableton, showing how they evolved into creative and money-making music production used in such music genres such as EDM (electronic dance music) and gaming music and by deejays in making music on dance floors around the world. The author also explores how the various DAWs split as music makers sought an easy flow system like FL Studio to produce music that was quick and profitable. The more rigid DAWs-for example, Pro Tools-were made for more technical productions and require more background in traditional recording techniques." -- Choice, "A thoughtful and comprehensive look at digital musicianship in all its many layers and contexts." -- Erin Barra, Director of Popular Music and Assistant Professor, Arizona State University "In this book, D'Errico (Albright College) examines Push technology, not just its evolution and technical background but also the gender gap among its users and the fact that a technical background is not required to produce music with it. D'Errico introduces many popular DAWs, such as FL Studio, Pro Tools, and Ableton, showing how they evolved into creative and money-making music production used in such music genres such as EDM (electronic dance music) and gaming music and by deejays in making music on dance floors around the world. The author also explores how the various DAWs split as music makers sought an easy flow system like FL Studio to produce music that was quick and profitable. The more rigid DAWs-for example, Pro Tools-were made for more technical productions and require more background in traditional recording techniques." -- Choice, "A thoughtful and comprehensive look at digital musicianship in all its many layers and contexts." -- Erin Barra, Director of Popular Music and Assistant Professor, Arizona State University"In this book, D'Errico (Albright College) examines Push technology, not just its evolution and technical background but also the gender gap among its users and the fact that a technical background is not required to produce music with it. D'Errico introduces many popular DAWs, such as FL Studio, Pro Tools, and Ableton, showing how they evolved into creative and money-making music production used in such music genres such as EDM (electronic dance music) andgaming music and by deejays in making music on dance floors around the world. The author also explores how the various DAWs split as music makers sought an easy flow system like FL Studio to produce musicthat was quick and profitable. The more rigid DAWs-for example, Pro Tools-were made for more technical productions and require more background in traditional recording techniques." -- Choice
Illustrated
Yes
Dewey Decimal
781.64117
Table Of Content
Acknowledgements About the Companion Website Introduction: Interface Aesthetics PART ONE: Sonic Architectures 1. Plugin Cultures 2. Monopolies of Competence 3. Terminal Aesthetics PART TWO: When Hardware Becomes Software 4. Controller Cultures 5. There's an App for That PART THREE: Software as Gradual Process 6. Worlds of Sound 7. Deep Listening Conclusion: Invisible Futures References Index
Synopsis
Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live introduced design affordances that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max , asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio , skeuomorphic design in Pro Tools , and gender inequity in the music products industry. It connects the computational thinking required by Max , as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives., Push: Software Design and the Cultural Politics of Music Production shows how music software has shaped the production techniques and performance practices of artists working across media, while also providing a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives, Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live introduced design affordances that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives.
LC Classification Number
ML3877.D27 2022
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