Eliot Bates

The Graduate Center, CUNY | CUNY · Program in Music

Why would anyone purchase expensive, natural resource-intensive, and seemingly obsolete material carriers of music when streaming providers provide unlimited access to over 40 million songs for a small monthly fee? As I will show, we can no longer assume that contemporary interest is driven solely by a collector’s market or because of the audible q...

Like many other specialty, purpose-built spaces, we tend to think of recording studios in instrumental terms, meaning that the space is defined in relation to the nominal type of work that the space is instrumental towards. While audio recordings have been made in spaces since 1877, not all of these spaces tend to be regarded as recording studios,...

Understanding how recorded and amplified stage musics contribute towards producing the Anthropocene necessitates attending to complex transnational flows of material, capital and labor, and how they coalesce into technological objects. This is complicated by the wide array of sites, practices and knowledges involved during various stages of the pro...

Despite a predominantly digital, 21st century music production landscape, analogue hardware professional audio technologies persist. In the discoursal throes of the leading online audio technology message forum Gearslutz, such technologies are routinely objectified, sexualized, fetishized and socialized into gear. Situated in a contemporary critica...

In this article, we analyze how a music genre is reciprocally defined online, through the crowdsourced ‘facts’ of Wikipedia. What are the traditional implicit and explicit exclusionary practices in this sort of genre formation? And how can internet-specific sociabilities create new exclusionary practices in the process of defining music? By analyzi...

225 L e 18 avril 2020, environ cinq semaines après le premier confinement lié à la pandémie de la Covid-19 en Amérique du Nord et en Europe, je me suis « rendu » sur YouTube pour assister au salon annuel des synthétiseurs modu-laires Superbooth, qui, en temps « normal », attire au printemps des milliers de passionnés de synthétiseurs à l'est de Ber...

An international survey in partnership with AES showed that women who work in the recording studio experience more microaggressions than those who work in STEM academia. While gender is the most significant predictor of social discrimination in audio, age, sexual orientation, race/ethnicity, disability and migrant status also have an impact. In res...

Recording production is a complex, multistep, typically collaborative process that entails a shifting set of individuals inhabiting changing roles within spaces that house considerable amounts of specialized technology. As these roles and technologies feature prominently in the aesthetics of Anglophone and Francophone popular music, they have been...

This panel expands on findings from an online survey that captured the experiences of discrimination reported by 387 audio engineers, producers, and studio assistants coming from 46 different countries (Brooks, Pras, Elafros, & Lockett, forthcoming). Statistical analyses of this survey reveal highly significant and systemic gender inequalities with...

The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices – organizatio...

This essay questions what is cultural within a recording studio, and the extent to which interculturality could be a useful lens for examining studio encounters and by extension other forms of artistic-technological labor. As I will show, when the concept of interculturality surfaces it rarely is accompanied by a sufficiently nuanced concept of "cu...

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new arti...

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new arti...

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new arti...

Istanbul is home to a multimillion dollar transnational music industry, which every year produces thousands of digital music recordings, including widely distributed film and television show soundtracks. Today, this centralized industry is responding to a growing global demand for Turkish, Kurdish, and other Anatolian ethnic language productions, a...

Simon Zagorski-Thomas , The Musicology of Record Production (Cambridge: Cambridge University Press, 2014), ISBN: 978-1-107-07564-1 (hb). - Volume 13 Issue 2 - ELIOT BATES

This chapter examines the creation of Grup Yorum’s 2006 album Yıldızlar Kuşandık as an example of distributed music production. Yorum is well known for their unwavering socialist activism, and many members have been jailed for participation in demonstrations or for performing or broadcasting in Kurdish. Other members live in Germany and are unable...

http://www.iaspmjournal.net/index.php/IASPM_Journal/article/view/613 Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidiscipl...

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus o...

This groundbreaking volume is framed by editors David Harnish and Anne Rasmussen as a corrective to a long-held "reductive summary" (p. 34), perhaps most famously articulated by Clifford Geertz and Benedict Anderson, that Indonesia is primarily an Indic region. All of the chapters are organized around specific local or regional musical genres, with...

This essay is focused around a seemingly simple question – what do recording studios do? First, a clarification. I am not primarily asking “what are studios” or “what do people do in studios,” two comparatively straightforward questions that are tangentially addressed in academic and trade writing. Rather, I wish to consider some of the ways in whi...

It is a daunting task to assess the 125 year history of recorded music, and equally daunting to assemble a theoretical and methodological framework that will continue to be relevant and useful for musicological and interdisciplinary scholarship in the twenty-first century. This volume provides a diverse sampling of contemporary scholarly approaches...

The first brief, stand-alone volume to explore the musical and cultural traditions of this region, Music in Turkey places the diverse sounds of the country (and the Middle East at large) in their social contexts. Author Eliot Bates employs four themes in his survey of Turkish music: the role of music in forming a national consciousness about local...

http://www.jstor.org/stable/10.5406/ethnomusicology.54.1.0081

https://arpjournal.com/rons-right-arm-tactility-visualization-and-the-synesthesia-of-audio-engineering/