Samantha Bennett is Associate Professor of Music at the Australian National University. Her work is published in Popular Music, Popular Music and Society and The Journal of Popular Music Studies. She is the author of the upcoming book Siouxsie and the Banshees’ Peepshow, part of Bloomsbury’s 33 1/3 series.Eliot Bates is Assistant Professor of Ethnomusicology at the City University of New York Graduate Center. He is the author of Music in Turkey: Experiencing Music, Expressing Culture (2011) and Digital Tradition: Arrangement and Labor in Istanbul’s Recording Studio Culture (2016).

Critical Approaches to the Production of Music and Sound is a wide-ranging collection of essays by scholars steeped in practice. It is a vital contribution to the literature, offering fresh insights and research on the evolving interface of music and technology.

• List of FiguresList of TablesList of ContributorsChapter 1: The Production of Music and Sound: A Multidisciplinary CritiqueEliot Bates and Samantha BennettSection 1: Situating Production: Place, Space and GenderChapter 2: Field Recording and the Production of PlaceTom Western (University of Edinburgh, Scotland)Chapter 3: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music ProductionDamon Minchella (University of Birmingham, England)Chapter 4: “An Indestructible Sound”: Locating Gender in Genres Using Different Music Production ApproachesPaula Wolfe (Sib Records, England)Section 2: Beyond RepresentationChapter 5: Producing TV Series Music in IstanbulEliot Bates (City University of New York, USA)Chapter 6: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous MusicKarl Neuenfeldt (Queensland Conservatorium, Griffith University, Australia)Section 3: Electronic MusicChapter 7: “All Sounds Are Created Equal”: Mediating Democracy in Acousmatic EducationPatrick Valiquet (University of Edinburgh, UK)Chapter 8: Technologies of Play in Hip-Hop and Electronic Dance Music Production and PerformanceMike D’Errico (UCLA, USA)Section 4: Technology and TechniqueChapter 9: Weapons of Mass Deception: The Invention and Re-invention of Recording Studio MythologyAlan Williams (UMASS, Lowell, USA)Chapter 10: Auto-Tune In Situ: Digital Vocal Correction And Conversational RepairOwen Marshall (Cornell University, USA)Section 5: Mediating Sound and SilenceChapter 11: Listening To or Through Technology: Opaque and Transparent Mediation Ragnhild Brøvig-Hanssen (University of Oslo, Norway) Chapter 12: Six Types of SilenceRichard Osborne (Middlesex University, England)Section 6: Virtuality and Online ProductionChapter 13: Intermixtuality: Case Studies in Online Music [Re]ProductionSamantha Bennett (Australian National University, Australia)Chapter 14: Crowdfunding and Alternative Modes of ProductionMark Thorley (Coventry University, England)Index

Samantha Bennett is Associate Professor of Music at the Australian National University. Her work is published in Popular Music, Popular Music and Society and The Journal of Popular Music Studies. She is the author of the upcoming book Siouxsie and the Banshees’ Peepshow, part of Bloomsbury’s 33 1/3 series.Eliot Bates is Assistant Professor of Ethnomusicology at the City University of New York Graduate Center. He is the author of Music in Turkey: Experiencing Music, Expressing Culture (2011) and Digital Tradition: Arrangement and Labor in Istanbul’s Recording Studio Culture (2016).

Critical Approaches to the Production of Music and Sound is a wide-ranging collection of essays by scholars steeped in practice. It is a vital contribution to the literature, offering fresh insights and research on the evolving interface of music and technology.

• List of FiguresList of TablesList of ContributorsChapter 1: The Production of Music and Sound: A Multidisciplinary CritiqueEliot Bates and Samantha BennettSection 1: Situating Production: Place, Space and GenderChapter 2: Field Recording and the Production of PlaceTom Western (University of Edinburgh, Scotland)Chapter 3: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music ProductionDamon Minchella (University of Birmingham, England)Chapter 4: “An Indestructible Sound”: Locating Gender in Genres Using Different Music Production ApproachesPaula Wolfe (Sib Records, England)Section 2: Beyond RepresentationChapter 5: Producing TV Series Music in IstanbulEliot Bates (City University of New York, USA)Chapter 6: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous MusicKarl Neuenfeldt (Queensland Conservatorium, Griffith University, Australia)Section 3: Electronic MusicChapter 7: “All Sounds Are Created Equal”: Mediating Democracy in Acousmatic EducationPatrick Valiquet (University of Edinburgh, UK)Chapter 8: Technologies of Play in Hip-Hop and Electronic Dance Music Production and PerformanceMike D’Errico (UCLA, USA)Section 4: Technology and TechniqueChapter 9: Weapons of Mass Deception: The Invention and Re-invention of Recording Studio MythologyAlan Williams (UMASS, Lowell, USA)Chapter 10: Auto-Tune In Situ: Digital Vocal Correction And Conversational RepairOwen Marshall (Cornell University, USA)Section 5: Mediating Sound and SilenceChapter 11: Listening To or Through Technology: Opaque and Transparent Mediation Ragnhild Brøvig-Hanssen (University of Oslo, Norway) Chapter 12: Six Types of SilenceRichard Osborne (Middlesex University, England)Section 6: Virtuality and Online ProductionChapter 13: Intermixtuality: Case Studies in Online Music [Re]ProductionSamantha Bennett (Australian National University, Australia)Chapter 14: Crowdfunding and Alternative Modes of ProductionMark Thorley (Coventry University, England)Index

Samantha Bennett is Associate Professor of Music at the Australian National University. Her work is published in Popular Music, Popular Music and Society and The Journal of Popular Music Studies. She is the author of the upcoming book Siouxsie and the Banshees’ Peepshow, part of Bloomsbury’s 33 1/3 series.Eliot Bates is Assistant Professor of Ethnomusicology at the City University of New York Graduate Center. He is the author of Music in Turkey: Experiencing Music, Expressing Culture (2011) and Digital Tradition: Arrangement and Labor in Istanbul’s Recording Studio Culture (2016).

Critical Approaches to the Production of Music and Sound is a wide-ranging collection of essays by scholars steeped in practice. It is a vital contribution to the literature, offering fresh insights and research on the evolving interface of music and technology.

• List of FiguresList of TablesList of ContributorsChapter 1: The Production of Music and Sound: A Multidisciplinary CritiqueEliot Bates and Samantha BennettSection 1: Situating Production: Place, Space and GenderChapter 2: Field Recording and the Production of PlaceTom Western (University of Edinburgh, Scotland)Chapter 3: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music ProductionDamon Minchella (University of Birmingham, England)Chapter 4: “An Indestructible Sound”: Locating Gender in Genres Using Different Music Production ApproachesPaula Wolfe (Sib Records, England)Section 2: Beyond RepresentationChapter 5: Producing TV Series Music in IstanbulEliot Bates (City University of New York, USA)Chapter 6: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous MusicKarl Neuenfeldt (Queensland Conservatorium, Griffith University, Australia)Section 3: Electronic MusicChapter 7: “All Sounds Are Created Equal”: Mediating Democracy in Acousmatic EducationPatrick Valiquet (University of Edinburgh, UK)Chapter 8: Technologies of Play in Hip-Hop and Electronic Dance Music Production and PerformanceMike D’Errico (UCLA, USA)Section 4: Technology and TechniqueChapter 9: Weapons of Mass Deception: The Invention and Re-invention of Recording Studio MythologyAlan Williams (UMASS, Lowell, USA)Chapter 10: Auto-Tune In Situ: Digital Vocal Correction And Conversational RepairOwen Marshall (Cornell University, USA)Section 5: Mediating Sound and SilenceChapter 11: Listening To or Through Technology: Opaque and Transparent Mediation Ragnhild Brøvig-Hanssen (University of Oslo, Norway) Chapter 12: Six Types of SilenceRichard Osborne (Middlesex University, England)Section 6: Virtuality and Online ProductionChapter 13: Intermixtuality: Case Studies in Online Music [Re]ProductionSamantha Bennett (Australian National University, Australia)Chapter 14: Crowdfunding and Alternative Modes of ProductionMark Thorley (Coventry University, England)Index