Richard James Burgess | Smithsonian Institution (original) (raw)
Books by Richard James Burgess
Traces the development of technology, industrial processes, and consumer demand for music. Out... more Traces the development of technology, industrial processes, and consumer demand for music.
Outlines the important and constantly evolving role of the music producer.
Explains how technologies precipitate new musical styles
Discloses unpublished negotiations between major record labels and the controversial online file-sharing service Napster.
The ideal companion to The Art of Music Production.
Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre.
Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.
Readership: Students and scholars of music production and any other readers with a deep interest in music production, sound recording, and the music industry.
Examines leadership styles amongst producers Looks at both the corporate and the musical roles m... more Examines leadership styles amongst producers
Looks at both the corporate and the musical roles music producers play
Offers special attention to music producers who are themselves musicians
Looks across a comprehensive set of musical genres
Lays out innovative options for producers including alternate revenue streams, marketing techniques, and social media
Features a comprehensive index as a resource for students and instructors
Gives attention to twenty-first century technologies, including a section on the internet and social network marketing
Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer.
Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.
Readership: Educators/professors teaching the topic of music production; students studying music production; practicing music producers, general readers interested in independent study of the field
Transcriptions by Richard James Burgess
With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter o... more With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter of the Year Award from BMI, the 26-year-old producer and songwriter Benny Blanco has ensured his place in the history of popular music. Some of his hits include Katy Perry’s “Teenage Dream,” and “California Gurls”, Maroon 5’s "Moves Like Jagger,” and “Payphone," Britney Spears’ “Circus,” Taio Cruz’s "Dynamite," Ke$ha’s “TiK ToK,” and Gym Class Heroes’ "Stereo Hearts." Blanco’s remarkable success at such a young age is matched only by his humility and the maturity of his understanding of the post millennial songwriting and production process in the contemporary popular music milieu in which he occupies a central position.
The following is an edited transcription of a presentation given by Blanco in which he delved into his songwriting and production techniques using examples from stems of his hit recordings and by answering audience questions. The presentation was given at the Sheffield Institute for the Recording Arts, Phoenix, MD., USA, November 10, 2012. It was arranged and (very lightly) moderated by Richard James Burgess for the Washington DC chapter of the Recording Academy’s Producer and Engineer Wing for which he was, contemporaneously, its co-chair.
Journal on the Art of Record Production, Mar 28, 2008
Articles by Richard James Burgess
Billboard named its Independent Power Players List and included several companies that are wholly... more Billboard named its Independent Power Players List and included several companies that are wholly owned subsidiaries of the three major labels, Universal, Sony, and Warners. The distinction between independent and major is existential in a digital distribution world and, CEO of A2IM (American Association of Independent Music), Richard James Burgess responds.
Article about the cynical business model of some technology companies that deprives musicians, ar... more Article about the cynical business model of some technology companies that deprives musicians, artists, songwriters, labels, and publishers of their rightful revenue from the copyrights they create and own.
Recording artists, songwriters and the music industry are under siege. Music is catnip for consum... more Recording artists, songwriters and the music industry are under siege. Music is catnip for consumers and creators and rights holders are not properly protected or compensated.
Producers reflections on the making of the album Journeys To Glory by the group Spandau Ballet on... more Producers reflections on the making of the album Journeys To Glory by the group Spandau Ballet on the eve of the album's thirtieth anniversary. First published on SpandauBallet.com
Interviews by Richard James Burgess
[An edited version of this story was published in Music Week] By Emmanuel Legrand A2IM's Rich... more [An edited version of this story was published in Music Week]
By Emmanuel Legrand
A2IM's Richard Burgess
One weekend in April 2016, Richard James Burgess is back in Washington, DC for a few hours. The recently-appointed CEO of New York-based US independent labels' organization A2IM is the guest of Music & Entertainment Industry Educators Association (MEIEA). Burgess is quite familiar with DC: He's spent the past more than 15 years in the US capital, working for the Smithsonian Institution as the head of its non-profit heritage label Folkways Recordings.
Edited transcription of an interview conducted by Richard James Burgess at the Sheffield Institut... more Edited transcription of an interview conducted by Richard James Burgess at the Sheffield Institute for the Recording Arts, Phoenix, MD., USA, November 10, 2012 with Benny Blanco: music producer/songwriter of international hits for artists such as Katy Perry, Rihanna, Pitbull, Ke$ha, Maroon 5, Wiz Khalifa, Britney Spears, Justin Bieber, Taio Cruz, and Gym Class Heroes, and many more.
Papers by Richard James Burgess
Contributions to books by Richard James Burgess
Reviews by Richard James Burgess
Journal on the Art of Record Production, Nov 2012
Traces the development of technology, industrial processes, and consumer demand for music. Out... more Traces the development of technology, industrial processes, and consumer demand for music.
Outlines the important and constantly evolving role of the music producer.
Explains how technologies precipitate new musical styles
Discloses unpublished negotiations between major record labels and the controversial online file-sharing service Napster.
The ideal companion to The Art of Music Production.
Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre.
Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.
Readership: Students and scholars of music production and any other readers with a deep interest in music production, sound recording, and the music industry.
Examines leadership styles amongst producers Looks at both the corporate and the musical roles m... more Examines leadership styles amongst producers
Looks at both the corporate and the musical roles music producers play
Offers special attention to music producers who are themselves musicians
Looks across a comprehensive set of musical genres
Lays out innovative options for producers including alternate revenue streams, marketing techniques, and social media
Features a comprehensive index as a resource for students and instructors
Gives attention to twenty-first century technologies, including a section on the internet and social network marketing
Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer.
Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.
Readership: Educators/professors teaching the topic of music production; students studying music production; practicing music producers, general readers interested in independent study of the field
With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter o... more With more than a dozen number one singles, multiple Grammy wins and nominations, and Songwriter of the Year Award from BMI, the 26-year-old producer and songwriter Benny Blanco has ensured his place in the history of popular music. Some of his hits include Katy Perry’s “Teenage Dream,” and “California Gurls”, Maroon 5’s "Moves Like Jagger,” and “Payphone," Britney Spears’ “Circus,” Taio Cruz’s "Dynamite," Ke$ha’s “TiK ToK,” and Gym Class Heroes’ "Stereo Hearts." Blanco’s remarkable success at such a young age is matched only by his humility and the maturity of his understanding of the post millennial songwriting and production process in the contemporary popular music milieu in which he occupies a central position.
The following is an edited transcription of a presentation given by Blanco in which he delved into his songwriting and production techniques using examples from stems of his hit recordings and by answering audience questions. The presentation was given at the Sheffield Institute for the Recording Arts, Phoenix, MD., USA, November 10, 2012. It was arranged and (very lightly) moderated by Richard James Burgess for the Washington DC chapter of the Recording Academy’s Producer and Engineer Wing for which he was, contemporaneously, its co-chair.
Journal on the Art of Record Production, Mar 28, 2008
Billboard named its Independent Power Players List and included several companies that are wholly... more Billboard named its Independent Power Players List and included several companies that are wholly owned subsidiaries of the three major labels, Universal, Sony, and Warners. The distinction between independent and major is existential in a digital distribution world and, CEO of A2IM (American Association of Independent Music), Richard James Burgess responds.
Article about the cynical business model of some technology companies that deprives musicians, ar... more Article about the cynical business model of some technology companies that deprives musicians, artists, songwriters, labels, and publishers of their rightful revenue from the copyrights they create and own.
Recording artists, songwriters and the music industry are under siege. Music is catnip for consum... more Recording artists, songwriters and the music industry are under siege. Music is catnip for consumers and creators and rights holders are not properly protected or compensated.
Producers reflections on the making of the album Journeys To Glory by the group Spandau Ballet on... more Producers reflections on the making of the album Journeys To Glory by the group Spandau Ballet on the eve of the album's thirtieth anniversary. First published on SpandauBallet.com
[An edited version of this story was published in Music Week] By Emmanuel Legrand A2IM's Rich... more [An edited version of this story was published in Music Week]
By Emmanuel Legrand
A2IM's Richard Burgess
One weekend in April 2016, Richard James Burgess is back in Washington, DC for a few hours. The recently-appointed CEO of New York-based US independent labels' organization A2IM is the guest of Music & Entertainment Industry Educators Association (MEIEA). Burgess is quite familiar with DC: He's spent the past more than 15 years in the US capital, working for the Smithsonian Institution as the head of its non-profit heritage label Folkways Recordings.
Edited transcription of an interview conducted by Richard James Burgess at the Sheffield Institut... more Edited transcription of an interview conducted by Richard James Burgess at the Sheffield Institute for the Recording Arts, Phoenix, MD., USA, November 10, 2012 with Benny Blanco: music producer/songwriter of international hits for artists such as Katy Perry, Rihanna, Pitbull, Ke$ha, Maroon 5, Wiz Khalifa, Britney Spears, Justin Bieber, Taio Cruz, and Gym Class Heroes, and many more.
Journal on the Art of Record Production, Nov 2012
Journal on the Art of Record Production, Nov 2012