Hostname: page-component-586b7cd67f-2plfb Total loading time: 0 Render date: 2024-11-22T16:53:48.689Z Has data issue: false hasContentIssue false

Dawn of the DAW: The Studio as Musical Instrument. By Adam Patrick Bell. New York: Oxford University Press, 2018.

Published online by Cambridge University Press:  04 May 2021

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press on behalf of the Society for American Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Green, Lucy, How Popular Musicians Learn: A Way Ahead for Music Education (Aldershot: Ashgate, 2002)Google Scholar.

2 See Spencer, Amy, DIY: The Rise of Lo-fi Culture (London: Marion Boyars, 2008)Google Scholar and Dunn, Kevin, “‘If It Ain't Cheap, It Ain't Punk’: Walter Benjamin's Progressive Cultural Production and DIY Punk Record Labels,” Journal of Popular Music Studies 24, no. 2 (2012): 217–37CrossRefGoogle Scholar.

3 Some recent works centering on the intersections of DIY, race, gender, and sexuality include Attwood, Feona, “Sluts and Riot Grrrls: Female Identity and Sexual Agency,” Journal of Gender Studies 16, no. 3 (2007): 233–47CrossRefGoogle Scholar; Harrison, Anthony Kwame, Hip Hop Underground: The Integrity and Ethics of Racial Identification (Philadelphia, PA: Temple University Press, 2009)Google Scholar; and Griffin, Naomi, “Gendered Performance and Performing Gender in the DIY Punk and Hardcore Music Scene,” Journal of International Women's Studies 13, no. 2 (2012): 6681Google Scholar.

4 Zagorski-Thomas, Simon, The Musicology of Record Production (Cambridge: Cambridge University Press, 2014)CrossRefGoogle Scholar.

5 Katz, Mark, Capturing Sound: How Technology Has Changed Music (Berkeley: University of California Press, 2004)Google Scholar; Evens, Aden, Sound Ideas: Music, Machines, and Experience (Minneapolis: University of Minnesota Press, 2005)Google Scholar; Théberge, Paul, Any Sound You Can Imagine: Making Music/Consuming Technology (Hanover, NH: Wesleyan University Press, 2007)Google Scholar; and Zak, Albin, I Don't Sound Like Nobody: Remaking Music in 1950s America (Ann Arbor: University of Michigan Press, 2010)CrossRefGoogle Scholar.

6 Green, Lucy, Music, Informal Learning, and the School: A New Classroom Pedagogy (Burlington, VT: Ashgate, 2008)Google Scholar; and Folkestad, Göran, Hargreaves, David J., and Lindström, Berner, “Compositional Strategies in Computer-Based Music-Making,” British Journal of Music Education 15, no. 1 (1998): 8387CrossRefGoogle Scholar.

7 See Bell, Adam Patrick, “Trial-By-Fire: A Case Study of the Musician-Engineer Hybrid Role in the Home Studio,” Journal of Music, Technology, and Education 7, no. 3 (2014): 295312CrossRefGoogle Scholar; and “DIY Recreational Recording as Music Making,” The Oxford Handbook of Music Making and Leisure, ed. Roger Mantie and Gareth Dylan Smith (New York: Oxford University Press, 2017): 81–91.