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Ground-breaking in its synthesis of perspectives, Gender in Music Production offers a broadly considered and thought-provoking resource for professionals, students and researchers working in the field of music production today.
Ground-breaking in its synthesis of perspectives, Gender in Music Production offers a broadly considered and thought-provoking resource for professionals, students and researchers working in the field of music production today.
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Russ Hepworth-Sawyer is a sound engineer and producer with over two decades' experience of all things audio and is a member of the Association of Professional Recording Services and a former board member and continuing member of the Music Producers Guild, where he helped form their Mastering Group. Jay Hodgson is an associate professor of popular music studies at Western University, where he mostly teaches songwriting and the project paradigm of record production. Dr Liesl King is Associate Head of School: Creative Writing, Media and Film Studies at York St John University in York, England. Mark Marrington trained in composition and musicology at the University of Leeds (M.Mus., Ph.D.) and is currently a Senior Lecturer in Music Production at York St John University.
Inhaltsangabe
List of Contributors Chapter 1: Gender In Music Production- An Introduction Russ Hepworth-Sawyer, Liesl King & Mark Marrington Part I: History and Context Chapter 2: Mark Marrington, Women in music production: a contextualized history from the 1890s to the 1980s Chapter 3: Marco Antonio Juan de Dios Cuartas, The role of women in music production in Spain during the 1960s: Maryní Callejo and the "Brincos Sound" Chapter 4: Gurutze Lasa Zuzuarregui, The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa Chapter 5: Rebekka Kill, "Hey boy, hey girl, superstar DJ, here we go..." :exploring the experience of female and non binary DJs in the UK music scene. Chapter 6: Javier Campos Calvo-Sotelo, She plays the pipe. Galician female bagpipers in the production of local tradition and gender identity Chapter 7: Kirsty Fairclough, Rare Birds: Prince, Gender and Music Production Part II: Women in the Studio Chapter 8: Henrik Marstal, Slamming the door to the recording studio - or leaving it ajar? Chapter 9: Sergio Pisfil, Interview with Betty Cantor Jackson Chapter 10: Liesl King, Twists in the Tracks: An interview with singer, composer, and sound producer Aynee Osborn Joujon Roche Part III: Personal Perspectives Chapter 11: Svjetlana Bukvich, Women in audio: trends in New York through the perspective of a civil war survivor Chapter 12: Julianne Regan, Three Pronged Attack: The pincer movement of gender allies, tempered radicals and pioneers. Chapter 13: Louise M. Thompson, Gender in Music Production: Perspective Through a Female and Feminine Lens Part IV: Industrial Evolution Chapter 14: Jude Brereton, Helena Daffern, Kat Young, Michael Lovedee-Turner, Addressing gender equality in Music Production: current challenges, opportunities for change and recommendations Chapter 15: Sharon Jagger and Helen Turner, The Female Music Producer and the Leveraging of Difference Chapter 16: Liz Dobson, Conversations in Berlin: discourse on gender, equilibrium and empowerment in audio production Index
List of Contributors Chapter 1: Gender In Music Production- An Introduction Russ Hepworth-Sawyer, Liesl King & Mark Marrington Part I: History and Context Chapter 2: Mark Marrington, Women in music production: a contextualized history from the 1890s to the 1980s Chapter 3: Marco Antonio Juan de Dios Cuartas, The role of women in music production in Spain during the 1960s: Maryní Callejo and the "Brincos Sound" Chapter 4: Gurutze Lasa Zuzuarregui, The Representation of Women in the Twentieth and Twenty-First Centuries Trikitixa Chapter 5: Rebekka Kill, "Hey boy, hey girl, superstar DJ, here we go..." :exploring the experience of female and non binary DJs in the UK music scene. Chapter 6: Javier Campos Calvo-Sotelo, She plays the pipe. Galician female bagpipers in the production of local tradition and gender identity Chapter 7: Kirsty Fairclough, Rare Birds: Prince, Gender and Music Production Part II: Women in the Studio Chapter 8: Henrik Marstal, Slamming the door to the recording studio - or leaving it ajar? Chapter 9: Sergio Pisfil, Interview with Betty Cantor Jackson Chapter 10: Liesl King, Twists in the Tracks: An interview with singer, composer, and sound producer Aynee Osborn Joujon Roche Part III: Personal Perspectives Chapter 11: Svjetlana Bukvich, Women in audio: trends in New York through the perspective of a civil war survivor Chapter 12: Julianne Regan, Three Pronged Attack: The pincer movement of gender allies, tempered radicals and pioneers. Chapter 13: Louise M. Thompson, Gender in Music Production: Perspective Through a Female and Feminine Lens Part IV: Industrial Evolution Chapter 14: Jude Brereton, Helena Daffern, Kat Young, Michael Lovedee-Turner, Addressing gender equality in Music Production: current challenges, opportunities for change and recommendations Chapter 15: Sharon Jagger and Helen Turner, The Female Music Producer and the Leveraging of Difference Chapter 16: Liz Dobson, Conversations in Berlin: discourse on gender, equilibrium and empowerment in audio production Index
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