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These records reveal how the creative use of technology in the modern pop recording studio has informed Horn's work, a theme that is then explored in an extensive interview with Horn himself.Ĭontents: General editor's preface Introduction Pop music: Characteristics of pop music: Pop and rock Pop as a format: the single Short and sweet The art of the familiar Simplicity and repetition Round and round, like a record Machine aesthetics Pop and television Pop and commerce Pop and fashion Let's dance Image Mixed media The production of pop music: An aural art The recording studio as resource From analogue to digital Using technology Multitrack recording Signal processing MIDI sequencing Sound synthesis and sampling Recording the voice The fade-out The record producer Technology and creativity: 'Video killed the radio star' by The Buggles: The ghost in the machine Music Lyrics Production and arrangement Disco killed the radio star 'Buffalo Gals' by Malcolm McLaren: A charismatic manager From manager to artist Applied cultural theory The anthropological connection Stylistic collage 'Buffalo Gals' Structure Timbre Half-heard words 'Owner of a lonely heart' by Yes: Yes: from prog.
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Part two analyses seven influential recordings produced by Trevor Horn between 19: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. This highly original and accessible book draws on the author's personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together.