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 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
Mike D'Errico is Director of Music Technology & Composition, Assistant Professor of Music & Computer Science, and Music Department Chair at Albright College, where he teaches courses in Music Production, Sound Design, Game Design, Songwriting, and User Experience Design. His research has appeared in Music, Sound, and the Moving Image, Journal on the Art of Record Production, and edited collections such as The Oxford Handbook of Electronic Dance Music; Electronic Cities: Music, Policies and Space in the 21st Century; Critical Issues to the Production of Music and Sound; and The Cambridge Companion to Hip-Hop. As an electronic music producer and sound designer, he makes hip-hop beats, electronic dance music tracks, and sound for video games and virtual reality applications. He is an Avid Certified Instructor in Pro Tools for Music and Game Audio, as well as an Apple Certified Pro in Logic Pro X. He earned his PhD in Musicology from UCLA, his Masters in Music from Tufts University, and his Bachelors of Music Education from the University New Hampshire.
Inhaltsangabe
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
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
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