... in the mid-1950s. This chapter situates Avakian’s mediation and Ellington’s performance within scholarly discussions of “liveness” to lay the groundwork for understanding the wider stakes of audio production choices in the early LP era. Newport Jazz Festival Duke Ellington audio production liveness...

... 1959 long-playing record (LP) audio production ...

... Debut Records audio production splice jazz long-playing record (LP) ...

... jazz history audio production long-playing record Miles Davis Bob Weinstock ...

... Newport Jazz Festival Duke Ellington audio production liveness long-playing record (LP) ...

... hard bop live records audio production Black popular music long-playing record (LP) ...

... Chapter 6 explores Charles Mingus’s relationship with audio production during the 1950s. Throughout the decade, Mingus reimagined the economics and cultural politics of jazz through his concern for sound on record, where control over that sound also meant control over the form, content...

... digital audio the voice radio production ...

... from the preceding chapters: (1) records make meaning through circulation, (2) record making is a practice of cultural negotiation, and (3) records remain unusable in their meaning. 1959 long-playing record (LP) audio production ...

... within the predominantly white-owned record business. The informal performances of Miles Davis, Zoot Sims, and James Moody point to a broader shift within the industry in what it meant to document jazz history on record. jazz history audio production long-playing record Miles Davis Bob...

... simultaneously as an expression of his own Afro-modernism. hard bop live records audio production Black popular music long-playing record (LP) ...

... production. This locally acute voice consciousness is shaped by three imperatives of Aboriginal audio media production—that it give voice, link people up, and sound black. The chapter introduces and discusses these imperatives and their imbrication with enduring forms of Aboriginal cosmology, Australian...

... ourselves speak—with or without recording devices—and which involves the production of audio-phonatory loops. Ergo-audition can further be broken down into different categories: cases where sound is isomorphic with the action of producing the sound; those where isomorphism is subtle or staggered; and cases...

... This chapter explores the 1947 Partition of British India through a critique of its recent oral-archival formations and its construction as an historical ‘event’. This critique includes reflections on my audio research series Partitioned Listening (2020–2022), which invoke the complexity...

.... The chapter thus foregrounds the expressive, collective, and technically demanding labor required to secure radio’s seeming immediacy, liveness, and social purchase. digital audio the voice radio production ...

... in hearing ourselves speak—with or without recording devices—and which involves the production of audio-phonatory loops. Ergo-audition can further be broken down into different categories: cases where sound is isomorphic with the action of producing the sound; those where isomorphism is subtle or staggered...

... in Philadelphia, GeoVanna Gonzalez in Miami, and Olivia Levins Holden in Minneapolis—the chapter explores how these artists engage with placemaking and belonging within their respective communities and contribute to Diasporican identity production. semantics ethnic identity placemaking diaspora studies...

... through a critique of its recent oral-archival formations and its construction as an historical ‘event’. This critique includes reflections on my audio research series Partitioned Listening (2020–2022), which invoke the complexity and reciprocity of speech, listening, silence, poetry and testimony...

... or production of sounds for fixation on various media; phonogeneration, or the technological creation of sounds; and reshaping, or the processing or manipulation of sounds. These basic effects have served in turn to decouple and to isolate elements of acoustic production and experience that were formerly...

... production. Indeed, K-Pop has been more deeply connected to digital platforms than any other cultural genre. In “The Platformization of K-Pop: From Weverse to NFTs,” Dal Yong Jin outlines how emergent media platforms drove shifts in the marketing and distribution of music, the facilitation of interactions...