Gender in Music Production

1. Auflage 2020
ISBN: 978-1-138-61336-2
Verlag: Focal Press

Buch, Englisch, 302 Seiten, Paperback, Format (B × H): 178 mm x 254 mm, Gewicht: 576 g

Reihe: Perspectives on Music Production

The field of music production has for many years been regarded as male-dominated. Despite growing acknowledgement of this fact, and some evidence of diversification, it is clear that gender representation on the whole remains quite unbalanced. Gender in Music Production brings together industry leaders, practitioners, and academics to present and analyze the situation of gender within the wider context of music production as well as to propose potential directions for the future of the field. This much-anticipated volume explores a wide range of topics, covering historical and contextual perspectives on women in the industry, interviews, case studies, individual position pieces, as well as informed analysis of current challenges and opportunities for change.

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.

Zielgruppe

Academic, Professional, and Professional Reference

Autoren/Hrsg.

Hepworth-Sawyer, Russ

Hodgson, Jay

King, Liesl

Marrington, Mark

Fachgebiete

• Technische Wissenschaften Sonstige Technologien | Angewandte Technik Akustik, Tontechnik
• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften
• Sozialwissenschaften Soziologie | Soziale Arbeit Soziologie Allgemein Empirische Sozialforschung, Statistik
• Sozialwissenschaften Psychologie Psychologie / Allgemeines & Theorie Psychologische Forschungsmethoden
• Sozialwissenschaften Soziologie | Soziale Arbeit Spezielle Soziologie Mediensoziologie

Inhaltsverzeichnis

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

Über Autor(innen)

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.