Zugl.: Göteborg, Handelshögskolan, Diss., 2007

This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from the Higher Education Academy (HEA) focussing on the use of emergent technology to develop music producers’ expertise. The work therefore represents a cohesive but diverse set of outputs, and is reflective of the technologically-driven nature of the creative industries, and the multidisciplinary experience of the author.

This paper explores the historical progression of the technological development of records and radio and its impact on popular music. It also includes the production technologies that create recorded music, the development of records, cassettes and CDs, and areas of reproduction that have an association with popular music including the sound technologies of radio, film, television, background music, and the juke-box. This paper is not a cultural or social study, but is primarily an historical account of media technology in music production and delivery. Certain social and cultural consequences and issues are included as background and sidebars to the primary topic. The technology of live performance has been omitted because it alone represents a body of material large enough for an entire paper. Western society now travels through a sea of music emanating from countless hidden sources. Such music delivery systems provide a continuous musical score for most people's personal histories. Sound, fragments of sound, and the very processes by which sound is created and manipulated have become products and commodities. The technology has allowed anyone to participate in the creation and hearing of music. This paper traces the history of the various technologies that, in so many respects, have provided a catalyst for that which is created, and the means by which music is listened to in the 20th Century. With rare exception, each new invention, delivery system, or process has had both supporters as well as detractors. Throughout this paper, both the positive as well as the negative effects of these developments will be explored. / Master of Arts (Hons)

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains viii, 345 p. : ill. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Committee on Human Development, August 2003. / Includes bibliographical references. Also available on the Internet.

Thesis (M.M.)--Baylor University, 2007. / Includes bibliographical references (p. 115-122).

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 192-204). Also available in electronic format on the Internet.

Thesis (Ph. D. (Business management))-University of Pretoria, 2005. / Includes summary. Includes bibliographical references (leaves 211-227). Available on the Internet via the World Wide Web.

Thesis (M.J.) - Carleton University, 2006. / Includes bibliographical references (p. 161-175). Also available in electronic format on the Internet.

by Lai Hing-ling, Janet and Ngai Chu-sing. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1984. / Bibliography: leaf [34]