MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Intelligent dance music
Intelligent dance music is a form of electronic music originating in the early 1990s, regarded as "cerebral" and better suited to "home listening" than dancing. Emerging from electronic and rave music styles such as techno, acid house, ambient music, breakbeat, IDM tended to rely upon individualistic experimentation rather than adhering to characteristics associated with specific genres. Prominent artists associated with the genre include Aphex Twin, μ-Ziq, the Black Dog, the Orb, the Future Sound of London, Luke Vibert, Venetian Snares and Boards of Canada; the term "intelligent dance music" has been criticised and rejected by artists associated with the style, including Aphex Twin and µ-Ziq, as elitist and derogatory towards other genres. The term is said to have originated in the US in 1993 with the formation of the "IDM list", an electronic mailing list chartered for the discussion of a number of prominent English artists appearing on the 1992 Warp compilation Artificial Intelligence. In 2014, music critic Sasha Frere-Jones observed that the term "is reviled but still used".
In the late 1980s, riding the wave of the acid house and early rave party scenes, UK-based groups such as The Orb and The KLF produced ambient house, a genre that fused house music with ambient music. By the early 1990s, the distinct music associated with dance music experimentation had gained prominence with releases on a variety of UK-based record labels, including Warp, Black Dog Productions, R&S Records, Carl Craig's Planet E, Rising High Records, Richard James's Rephlex Records, Kirk Degiorgio's Applied Rhythmic Technology, Eevo Lute Muzique, General Production Recordings, Soma Quality Recordings, Peacefrog Records, Metamorphic Recordings. In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled "electronic listening music from Warp", the record was a collection of tracks from artists such as Autechre, B12, The Black Dog, Aphex Twin and The Orb, under various aliases; this would help establish the ambient techno sound of the early 1990s.
Steve Beckett, co-owner of Warp, has said the electronic music that the label was releasing was targeting a post-club, home-listening audience. Following the success of the Artificial Intelligence series, "intelligent techno" became the favored term, although ambient—without a qualifying house or techno suffix, but still referring to a hybrid form—was a common synonym. In the same period, other names were used, such as "art techno," "armchair techno," and "electronica", but all were attempts to describe an emerging offshoot of electronic dance music, being enjoyed by the "sedentary and stay at home". At the same time, the UK market was saturated with frenetic breakbeat and sample-laden hardcore techno records that became formulaic. Rave had become a "dirty word," so as an alternative, it was common for London nightclubs to advertise that they were playing "intelligent" or "pure" techno, appealing to a "discerning" crowd that considered the hardcore sound to be too commercial. In 1993, a number of new "intelligent techno"/"electronica" record labels emerged, including New Electronica, Mille Plateaux, 100% Pure, Ferox Records.
In November 1991, the phrase "intelligent techno" appeared on Usenet in reference to Coil's The Snow EP. Off the Internet, the same phrase appeared in both the U. S. and U. K. music press in late 1992, in reference to Jam & Spoon's Tales from a Danceographic Ocean and the music of The Future Sound of London. Another instance of the phrase appeared on Usenet in April 1993 in reference to The Black Dog's album Bytes, and in July 1993, in his review of an ethno-dance compilation for NME, Ben Willmott replaced techno with dance music, writing "...current'intelligent' dance music owes much more to Eastern mantra-like repetition and neo-ambient instrumentation than the disco era which preceded the advent of acid and techno."Wider public use of such terms on the Internet came in August 1993, when Alan Parry announced the existence of a new electronic mailing list for discussion of "intelligent" dance music: the "Intelligent Dance Music list", or "IDM List" for short. The first message, sent on 1 August 1993, was entitled "Can Dumb People Enjoy IDM, Too?".
A reply from the list server's system administrator, Brian Behlendorf, revealed that Parry wanted to create a list devoted to discussion of the music on the Rephlex label, but they decided together to expand its charter to include music similar to what was on Rephlex or, in different genres but, made with similar approaches. They picked the word "intelligent" because it had appeared on Artificial Intelligence and because it connoted being something beyond just music for dancing, while still being open to interpretation. Artists that appeared in the first discussions on the list included Autechre, Atom Heart, LFO and Rephlex Records artists such as Aphex Twin, µ-ziq and Luke Vibert. By the end of 1996, Boards of Canada and the Schematic Records label were among the usual topics of discussion, alongside perennial favorites like Aphex Twin and the Warp repertoire; as of 2015, the mailing list is still active. Warp's second Artificial Intelligence compilation was released in 1994; the album featured fragments of posts from the IDM mailing list incorporated into typographic artwork by The Designers Republic.
Sleeve notes by David Toop acknowledged the genre's multitude of
Zimbabwe the Republic of Zimbabwe, is a landlocked country located in southern Africa, between the Zambezi and Limpopo Rivers, bordered by South Africa, Botswana and Mozambique. The capital and largest city is Harare. A country of 16 million people, Zimbabwe has 16 official languages, with English and Ndebele the most used. Since the 11th century, present-day Zimbabwe has been the site of several organised states and kingdoms as well as a major route for migration and trade; the British South Africa Company of Cecil Rhodes first demarcated the present territory during the 1890s. In 1965, the conservative white minority government unilaterally declared independence as Rhodesia; the state endured a 15-year guerrilla war with black nationalist forces. Zimbabwe joined the Commonwealth of Nations, from which it was suspended in 2002 for breaches of international law by its then-government, from which it withdrew in December 2003; the sovereign state is a member of the United Nations, the Southern African Development Community, the African Union, the Common Market for Eastern and Southern Africa.
It was once known as the "Jewel of Africa" for its prosperity under the former Rhodesian administration. Robert Mugabe became Prime Minister of Zimbabwe in 1980, when his ZANU-PF party won the elections following the end of white minority rule. Under Mugabe's authoritarian regime, the state security apparatus dominated the country and was responsible for widespread human rights violations. Mugabe maintained the revolutionary socialist rhetoric of the Cold War era, blaming Zimbabwe's economic woes on conspiring Western capitalist countries. Contemporary African political leaders were reluctant to criticise Mugabe, burnished by his anti-imperialist credentials, though Archbishop Desmond Tutu called him "a cartoon figure of an archetypal African dictator"; the country has been in economic decline since the 1990s, experiencing several crashes and hyperinflation along the way. On 15 November 2017, in the wake of over a year of protests against his government as well as Zimbabwe's declining economy, Mugabe was placed under house arrest by the country's national army in a coup d'état.
On 19 November 2017, ZANU-PF sacked Robert Mugabe as party leader and appointed former Vice President Emmerson Mnangagwa in his place. On 21 November 2017, Mugabe tendered his resignation prior to impeachment proceedings being completed. On 30 July 2018 Zimbabwe held its general elections, won by the ZANU-PF party led by Emmerson Mnangagwa. Nelson Chamisa, leading the main opposition party MDC Alliance contested the election results and filed a petition to the Constitution Court of Zimbabwe; the court confirmed Mnangagwa's victory. The name "Zimbabwe" stems from a Shona term for Great Zimbabwe, an ancient ruined city in the country's south-east whose remains are now a protected site. Two different theories address the origin of the word. Many sources hold that "Zimbabwe" derives from dzimba-dza-mabwe, translated from the Karanga dialect of Shona as "houses of stones"; the Karanga-speaking Shona people live around Great Zimbabwe in the modern-day province of Masvingo. Archaeologist Peter Garlake claims that "Zimbabwe" represents a contracted form of dzimba-hwe, which means "venerated houses" in the Zezuru dialect of Shona and references chiefs' houses or graves.
Zimbabwe was known as Southern Rhodesia and Zimbabwe Rhodesia. The first recorded use of "Zimbabwe" as a term of national reference dates from 1960 as a coinage by the black nationalist Michael Mawema, whose Zimbabwe National Party became the first to use the name in 1961; the term "Rhodesia"—derived from the surname of Cecil Rhodes, the primary instigator of British colonisation of the territory during the late 19th century—was perceived by African nationalists as inappropriate because of its colonial origin and connotations. According to Mawema, black nationalists held a meeting in 1960 to choose an alternative name for the country, proposing names such as "Matshobana" and "Monomotapa" before his suggestion, "Zimbabwe", prevailed. A further alternative, put forward by nationalists in Matabeleland, had been "Matopos", referring to the Matopos Hills to the south of Bulawayo, it was unclear how the chosen term was to be used—a letter written by Mawema in 1961 refers to "Zimbabweland" — but "Zimbabwe" was sufficiently established by 1962 to become the preferred term of the black nationalist movement.
In a 2001 interview, black nationalist Edson Zvobgo recalled that Mawema mentioned the name during a political rally, "and it caught hold, and, that". The black nationalist factions subsequently used the name during the Second Chimurenga campaigns against the Rhodesian government during the Rhodesian Bush War of 1964–1979. Major factions in this camp included the Zimbabwe African National Union, the Zimbabwe African People's Union. Archaeological records date human settlement of present-day Zimbabwe to at least 100,000 years ago; the earliest known inhabitants were San people, who left behind arrowheads and cave paintings. The first Bantu-speaking farmers arrived during the Bantu expansion around 2000 years ago. Societies speaking proto-Shona languages fir
A remix is a piece of media, altered from its original state by adding, and/or changing pieces of the item. A song, piece of artwork, video, or photograph can all be remixes; the only characteristic of a remix is that it appropriates and changes other materials to create something new. Most remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons: to adapt or revise a song for radio or nightclub play to create a stereo or surround sound version of a song where none was available to improve the fidelity of an older song for which the original master has been lost or degraded to alter a song to suit a specific music genre or radio format to use some of the same materials, allowing the song to reach a different audience to alter a song for artistic purposes. To provide additional versions of a song for use as bonus tracks or for a B-side, for example, in times when a CD single might carry a total of 4 tracks to create a connection between a smaller artist and a more successful one, as was the case with Fatboy Slim's remix of "Brimful of Asha" by Cornershop to improve the first or demo mix of the song to ensure a professional product.
To provide an alternative version of a song to improve a song from its original stateRemixes should not be confused with edits, which involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, a cover: a re-recording of someone else's song like Mike D's remix of Moby's "Natural Blues". While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form, remixed in numerous examples. Literature, film and social systems can all be argued as a form of remix Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions.
Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica; the fluid evolution of music that encompassed ska, rocksteady and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes of reggae tunes. At first they dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix and repeating hooks, adding various effects like echo and delay; the German krautrock band Neu! used other effects on side two of their album Neu! 2 by manipulating their released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs to get dancers on the floor and keep them there.
One noteworthy figure was Tom Moulton. Though not a DJ, Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s, his tapes became popular and he came to the attention of the music industry in New York City. At first Moulton was called upon to improve the aesthetics of dance-oriented recordings before release, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single. Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton and their contemporaries at Salsoul Records proved to be the most influential group of remixers for the disco era; the Salsoul catalog is seen as being the "canon" for the disco mixer's art form. Pettibone is among a small number of remixers whose work transitioned from the disco to the House era.
His contemporaries included François Kevorkian. Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included Grandmaster Flash. Cutting and scratching became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D. ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". Early pop remixes were simple.
A pseudonym or alias is a name that a person or group assumes for a particular purpose, which can differ from their first or true name. Pseudonyms include stage names and user names, ring names, pen names, aliases, superhero or villain identities and code names, gamer identifications, regnal names of emperors and other monarchs, they have taken the form of anagrams and Latinisations, although there are many other methods of choosing a pseudonym. Pseudonyms should not be confused with new names that replace old ones and become the individual's full-time name. Pseudonyms are "part-time" names, used only in certain contexts – to provide a more clear-cut separation between one's private and professional lives, to showcase or enhance a particular persona, or to hide an individual's real identity, as with writers' pen names, graffiti artists' tags, resistance fighters' or terrorists' noms de guerre, computer hackers' handles. Actors, voice-over artists and other performers sometimes use stage names, for example, to better channel a relevant energy, gain a greater sense of security and comfort via privacy, more avoid troublesome fans/"stalkers", or to mask their ethnic backgrounds.
In some cases, pseudonyms are adopted because they are part of a cultural or organisational tradition: for example devotional names used by members of some religious institutes, "cadre names" used by Communist party leaders such as Trotsky and Lenin. A pseudonym may be used for personal reasons: for example, an individual may prefer to be called or known by a name that differs from their given or legal name, but is not ready to take the numerous steps to get their name changed. A collective name or collective pseudonym is one shared by two or more persons, for example the co-authors of a work, such as Carolyn Keene, Ellery Queen, Nicolas Bourbaki. Or James S. A. Corey; the term is derived from the Greek ψευδώνυμον "false name", from ψεῦδος, "lie, falsehood" and ὄνομα, "name". A pseudonym is distinct from an allonym, the name of another person, assumed by the author of a work of art; this may occur when someone is ghostwriting a book or play, or in parody, or when using a "front" name, such as by screenwriters blacklisted in Hollywood in the 1950s and 1960s.
See pseudepigraph, for falsely attributed authorship. Sometimes people change their name in such a manner that the new name becomes permanent and is used by all who know the person; this is not an alias or pseudonym, but in fact a new name. In many countries, including common law countries, a name change can be ratified by a court and become a person's new legal name. For example, in the 1960s, black civil rights campaigner Malcolm Little changed his surname to "X", to represent his unknown African ancestral name, lost when his ancestors were brought to North America as slaves, he changed his name again to Malik El-Shabazz when he converted to Islam. Some Jews adopted Hebrew family names upon immigrating to Israel, dropping surnames, in their families for generations; the politician David Ben-Gurion, for example, was born David Grün in Poland. He adopted his Hebrew name in 1910, when he published his first article in a Zionist journal in Jerusalem. Many transgender people choose to adopt a new name around the time of their social transitioning, to resemble their desired gender better than their birth name.
Businesspersons of ethnic minorities in some parts of the world are sometimes advised by an employer to use a pseudonym, common or acceptable in that area when conducting business, to overcome racial or religious bias. Criminals may use aliases, fictitious business names, dummy corporations to hide their identity, or to impersonate other persons or entities in order to commit fraud. Aliases and fictitious business names used for dummy corporations may become so complex that, in the words of the Washington Post, "getting to the truth requires a walk down a bizarre labyrinth" and multiple government agencies may become involved to uncover the truth. A pen name, or "nom de plume", is a pseudonym adopted by an author; some female authors used male pen names, in particular in the 19th century, when writing was a male-dominated profession. The Brontë family used pen names for their early work, so as not to reveal their gender and so that local residents would not know that the books related to people of the neighbourhood.
The Brontës used their neighbours as inspiration for characters in many of their books. Anne Brontë published The Tenant of Wildfell Hall under the name Acton Bell. Charlotte Brontë published Jane Eyre under the name Currer Bell. Emily Brontë published Wuthering Heights as Ellis Bell. A well-known example of the former is Mary Ann Evans. Another example is Amandine Aurore Lucile Dupin, a 19th-century French writer who used the pen name George Sand. In contrast, some twentieth and twenty first century male romance novelists have used female pen names. A few examples of male authors using female pseudonyms include Brindle Chase, Peter O'Donnell and Christopher Wood. A pen name may be used if a writer's real name is to be confused with the name of another writer or notable individual, or if their real name is deemed to be unsuitable. Authors who write both fiction and non-fiction, or in different genres, may use
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp