標(biāo)題: Titlebook: Creativity in the Recording Studio; Alternative Takes Paul Thompson Book 2019 The Editor(s) (if applicable) and The Author(s), under exclus [打印本頁] 作者: Adams 時(shí)間: 2025-3-21 17:46
書目名稱Creativity in the Recording Studio影響因子(影響力)
書目名稱Creativity in the Recording Studio影響因子(影響力)學(xué)科排名
書目名稱Creativity in the Recording Studio網(wǎng)絡(luò)公開度
書目名稱Creativity in the Recording Studio網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Creativity in the Recording Studio被引頻次
書目名稱Creativity in the Recording Studio被引頻次學(xué)科排名
書目名稱Creativity in the Recording Studio年度引用
書目名稱Creativity in the Recording Studio年度引用學(xué)科排名
書目名稱Creativity in the Recording Studio讀者反饋
書目名稱Creativity in the Recording Studio讀者反饋學(xué)科排名
作者: 生氣地 時(shí)間: 2025-3-21 22:46 作者: 不可接觸 時(shí)間: 2025-3-22 02:09
Carl-Jochen Winter,Joachim Nitschormal means. Overtime, creative agents internalize this domain knowledge so it becomes part of their ‘tacit knowing’ (Schon .), which are: ‘a(chǎn)ctions, recognitions, and judgements which we know how to carry out spontaneously; we do not have to think about them prior to or during their performance’ (ibid., p. 54).作者: 你不公正 時(shí)間: 2025-3-22 07:23 作者: 殘忍 時(shí)間: 2025-3-22 12:06
Introduction,of commercial record production and presents the idea that creativity occurs through the interaction between an agent, a knowledge system and their related social context (Csikszentmihalyi .). Creative products, such as records, are therefore result of a creative system in action (McIntyre 2012).作者: 緩和 時(shí)間: 2025-3-22 15:20 作者: 緩和 時(shí)間: 2025-3-22 18:29
The Field of Commercial Record Productionipal areas: the recording industry and the media, their mechanisms and criteria for selection and the ways in which the industrial context of music-making can shape the musical work Williams (in: Robinson et al. (eds) Music at the Margins, Sage, London, 1991).作者: Creatinine-Test 時(shí)間: 2025-3-23 00:14 作者: mettlesome 時(shí)間: 2025-3-23 03:43
,Die religi?se Grundlage im Schwesternberuf, and field so that they apply to the creative tasks of songwriting, and Side B introduces the example of John Lennon and the songwriting process for ‘Strawberry Fields Forever’ (1967) to illustrate the creative system in action.作者: Introduction 時(shí)間: 2025-3-23 08:44
https://doi.org/10.1007/978-3-642-98944-5g the domain and field so they apply to the creative system of producing. Side B presents specific examples of the creative system of producing in action including Sylvia Massy’s creative practice of eliciting a performance and Rick Rubin’s creative process of matching artists with the most appropriate musical material.作者: Crumple 時(shí)間: 2025-3-23 13:29
The Creative System of Commercial Record Productionngwriting, performing, engineering and producing can be seen to directly contribute to the production of the final recording (Zak in ., University of California Press, London, 2001). This chapter introduces the history, traditions and function of these distinct but interconnected systems beginning first with the creative system of songwriting.作者: Commentary 時(shí)間: 2025-3-23 17:24
The Creative System of Songwriting and field so that they apply to the creative tasks of songwriting, and Side B introduces the example of John Lennon and the songwriting process for ‘Strawberry Fields Forever’ (1967) to illustrate the creative system in action.作者: 組成 時(shí)間: 2025-3-23 21:06 作者: Flatus 時(shí)間: 2025-3-24 00:14 作者: Initiative 時(shí)間: 2025-3-24 05:23 作者: Myocarditis 時(shí)間: 2025-3-24 07:53
Book 2019Lennon, David Bowie, Tupac Shakur, Bj?rk, Marta Salogni, Sylvia Massy and Rick Rubin, each chapter takes the reader inside a different part of the commercial record production process and uncovers the interactive and interrelated multitude of factors involved in each creative task..作者: 哄騙 時(shí)間: 2025-3-24 12:29 作者: adjacent 時(shí)間: 2025-3-24 16:55 作者: 調(diào)味品 時(shí)間: 2025-3-24 19:36 作者: largesse 時(shí)間: 2025-3-24 23:35 作者: Sad570 時(shí)間: 2025-3-25 03:26
https://doi.org/10.1007/978-3-030-01650-0Popular music; Collaboration; Systems Approach; Creative system; Music production; Songwriting作者: carbohydrate 時(shí)間: 2025-3-25 09:08
The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: 生銹 時(shí)間: 2025-3-25 11:40
Carl-Jochen Winter,Joachim NitschOver the course of four weeks, The Beatles recorded a further 25 takes each with a different approach, or an alternate arrangement, sometimes at different tempos or even in different musical keys. In doing so, John Lennon and George Martin were appraising each?of the track’s alternative takes, selec作者: 產(chǎn)生 時(shí)間: 2025-3-25 19:47 作者: constellation 時(shí)間: 2025-3-25 22:32 作者: 按時(shí)間順序 時(shí)間: 2025-3-26 02:35 作者: 諷刺 時(shí)間: 2025-3-26 07:33
Thermische und Mechanische Stromerzeugunglizes and subsequently alters the domain of commercial popular music and: ‘includes all those who can affect the structure of the domain’ Csikszentmihalyi (in: Sternberg (ed) The Nature of Creativity: Contemporary Psychological Perspectives, Cambridge University Press, New York, 1988). This chapter 作者: 共棲 時(shí)間: 2025-3-26 08:28
,Die religi?se Grundlage im Schwesternberuf, musical, cultural and economic conventions have formed around the song and these conventions have established structures and constraints that the songwriter must negotiate in order to write a new song. In interviews, songwriters often describe their creative process as unfathomable, magical or spir作者: 禮節(jié) 時(shí)間: 2025-3-26 14:30 作者: 平常 時(shí)間: 2025-3-26 18:45
https://doi.org/10.1007/978-3-642-98944-5status. These views are problematically linked to inspirationalist and romantic conceptions of creativity and, although they have now been dismissed as myths (Boden .), these romantic distinctions between art and craft and consequently what is considered to be creative continue to pervade the record作者: 紳士 時(shí)間: 2025-3-26 23:34
https://doi.org/10.1007/978-3-642-98944-5 producer is the person who has overall creative control across the duration of the recording project and is responsible for the musical, technical and aesthetic decisions that fulfil the needs of the artist and (if necessary) the requirements of the record company or music publisher. Each recording作者: 茁壯成長 時(shí)間: 2025-3-27 04:06
https://doi.org/10.1007/978-3-642-98944-5rts and into separate systems. In reality though, these creative systems operate simultaneously at different scales (from the individual, to the group, to the collective, etc.) and on different levels depending on the creative task. This chapter concludes the book by illustrating the concurrent inte作者: 悲痛 時(shí)間: 2025-3-27 07:38
Creativityroaches to studying groups, group behaviour and group processes. The chapter concludes by identifying a more encompassing approach to study creativity and, specifically, the creative process of commercial record production.作者: 原告 時(shí)間: 2025-3-27 10:44 作者: Airtight 時(shí)間: 2025-3-27 17:09
The Creative System of Engineeringles of the creative practices of engineering in commercial record production including Ken Scott’s kick drum mic’ing method and Marta Salogni’s process of mixing Bj?rk’s ninth studio album Utopia (2017).作者: 針葉類的樹 時(shí)間: 2025-3-27 19:20 作者: Ceramic 時(shí)間: 2025-3-28 00:46
Potential und M?glichkeiten von Wasserstoffroaches to studying groups, group behaviour and group processes. The chapter concludes by identifying a more encompassing approach to study creativity and, specifically, the creative process of commercial record production.作者: FLIP 時(shí)間: 2025-3-28 03:29
https://doi.org/10.1007/978-3-642-98944-5erformance by introducing the idea that studio performances are the result of a creative system in action. Beginning first with the performing musician’s domain and field, this chapter then demonstrates the creative system in action drawing on examples from David Bowie and Tupac Shakur.作者: Malfunction 時(shí)間: 2025-3-28 06:15
https://doi.org/10.1007/978-3-642-98944-5les of the creative practices of engineering in commercial record production including Ken Scott’s kick drum mic’ing method and Marta Salogni’s process of mixing Bj?rk’s ninth studio album Utopia (2017).作者: companion 時(shí)間: 2025-3-28 12:19
Introduction,Over the course of four weeks, The Beatles recorded a further 25 takes each with a different approach, or an alternate arrangement, sometimes at different tempos or even in different musical keys. In doing so, John Lennon and George Martin were appraising each?of the track’s alternative takes, selec作者: 莊嚴(yán) 時(shí)間: 2025-3-28 14:59
Creativity convergence of multiple factors within a dynamic system of interactions (Csikszentmihalyi in: Sternberg (Ed) ., Cambridge University Press, New York, 1988; ., HarperCollins, New York, 1997; in: Sternberg (Ed) ., Cambridge University Press, Cambridge, 1999; 2004). This chapter introduces research in作者: Emg827 時(shí)間: 2025-3-28 20:19 作者: neolith 時(shí)間: 2025-3-29 01:26
The Domain of Commercial Record Productionas a separate entity; it is intricately connected with the other parts of the creative system. For the purposes of analysis, however, the domain of commercial record production has been illustrated as a single element and grouped into three interconnected areas: musical, technical and sociocultural.作者: Prognosis 時(shí)間: 2025-3-29 04:29 作者: 獨(dú)行者 時(shí)間: 2025-3-29 10:56
The Creative System of Songwriting musical, cultural and economic conventions have formed around the song and these conventions have established structures and constraints that the songwriter must negotiate in order to write a new song. In interviews, songwriters often describe their creative process as unfathomable, magical or spir作者: Conclave 時(shí)間: 2025-3-29 14:30 作者: Catheter 時(shí)間: 2025-3-29 15:52
The Creative System of Engineeringstatus. These views are problematically linked to inspirationalist and romantic conceptions of creativity and, although they have now been dismissed as myths (Boden .), these romantic distinctions between art and craft and consequently what is considered to be creative continue to pervade the record
