Sound Engineering as Cultural Production
by Paul Greene

This is a bibliography of research concerning sound engineering, which may be defined as "the technological empowerment to engineer music, culture, soundscapes, and lifeways" (Greene 1999). This bibliography grows out of the SEM 1999 Panel "Sound Engineering as Cultural Production" and the papers presented there. Thanks to my co-participants on the panel: Cornelia Fales, Thomas Porcello, Boden Sandstrom, and Jeremy Wallach.

PANEL ABSTRACT
A tremendous and growing portion of the world's music is engineered through sophisticated sound technologies. These panelists are all sound engineers and published scholars who are committed to developing ethnomusicological approaches to the world's high-tech musical cultures. If approved, our panel will bring research on subjects such as stereo imaging, ambient effects, psycho-acoustical presence, computer-enhanced performativity, and multitrack syncretism more deeply into our Society's discourse. In addition, the panel develops SEM 1999 Theme #5, "The Effects of Capitalism on Indigenous Music Making, Is Grey-Out No Longer an Issue?" Studio technology is perhaps the music industry's most crucial kind of capital, and studio hardware and software are rapid-turnover products that are themselves marketed by a centralized technology industry. Yet as we examine the meanings of engineered sounds, we find that simple models of global cultural grey-out do not engage the many complex ways that technologies serve diverse expressive and creative agendas.


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