Beruflich Dokumente
Kultur Dokumente
NOTES
sionals in the record industry. More precise dewils of their sources are menrioned only when and Popular Music
relevant.
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NOTES
COMMITMENT TO A SCHEDULE
, I I. S. Ikckcr. "Arts and Cratrv," IIIIICrlCdll.!o//n",/ I!ISo(l%.~) .'I, Uanuary I <J'81, PI'. 861
vo.
.: 'Thc Unsung Heroe,," 13////JI;./rd 1~8 Ocrober 1<J(J 71, 1'.72.
he first consideration of the practice session is that it is 8. prear
\ Quotations JCUllllpanicd by (ILHio!1s arc- tr orn pcr son.i! interview rr.mscr iptions.
T
ranged meeting, and (here can be as many or as few sessions as
5 u\prd !')7iI, p. /)7. the group cares to arrange. Observation of many groups shows that there
" Thrc unu m s have org . lnlzcd sound m rx crs. the National Association ()f Bro,tdcasr Engineers
is a great variation in frequency of practice schedules (from "never" to
and Technicians, rhe l nrcru.uioual Bror herhood of Ek-rrr irul \\lorkers, "n,1 the l nrcr narional
AlIi"me of Thca"'ical Stage I'mployce' and Motion Picture M"chine Operators. "every day"), and that the categorization of groups by their practice sched
" R. Gcl.ir r, 'I'l" [-"';"'/11"., f'bo""~"'I/,b (New York: Appleton-Century, I <J(5), Pl'. 2()<)-.1 00. uling yields an indicator of group career stages, It is, of course, not the
R. Will"ll1ls (Jill 0/ I I /.. I I'd"! i New York: Our c rbr i.iuc & La~.lrd, I<J721, p. ') I,
< D. Laing, T] So""d 010,,1' r/ille (Chicago: Qua,lrangle, [')(J')), pp. ')7-<JK.
number of practices, but the ideological framework which creates a partic
./ H. S. lknncrr, "Othe-r Pcople's i\lusic," I'h.D. disserration, Non hwesu-rn University, 1')72. ular practice density that is indicative of the group's stage of development.
,.. 1. I. lLorowitz, "Rrnk , IZccordings, and Rei",llion," in C. Naur y (cd.l, ;1 lIIerie"" ,\I ",i,. t Ncw \'X!hen there is not enough material to playa three- or four-hour gig, the
[jrullSwick, N) .. Tr.m s act ion. I lye.> I, p 2(,<).
"T c'lhill, "Marry Balin Sings Ag.I;n." NII/Ii"g Slone i8 .June I<J:'2), p. K. group is at an early stage, and the need for practice is great. If the "every
"E. Tic'gel, "Unions' En.~inlt:r Sr ipul.uinn l rk s Independent Produc.-rs," f)i///'"dn/ I l April day" schedule is actualized at this point, the shortest possible lag time ensues
I <J7.> I, I). Ii.
" "I lair Nores." Cr,,",!',tl/l (i\lay I()7, I. I' .> ,.
between the group's formation and the playing of its first gig. As the number
" II. S. Ikcker, "An .IS Colk-crivc Acrion," .'1111"""'/1/ SO(l'%.~/c,d [("!ltl! j8 (December I<J 7,1). of practices decreases from the practical limit (i.e., "every day," which means
p. 7 7 i.
"almost every day"), the time it takes to construct a repertoire increases.
,. Bccker, "Arr s cUI.J Cr.ifrs." p. SI,(,
rr, E. T. Clnhy. "The Sound-man Art isr," ,I"dio i./une 1<J5IJ), PI'. ii-i5.
Since the ability to accept an engagement depends on the existence of a
, "Ramom- Srresses C.1l1l i\lade bv Sound in Pro,lucing Hir ," Il///!;o",.,/ I J(I Mav 1<J6C) ) ,
repertoire, the practice schedule of a newly formed group determines its
p. ') I.
possibilities for succession to the steady-gig stage. It is, however, the fate
1.<G. Ko.h, "Hoy If.dec, Fllgineer of rln- Yc.ir , I(PI," t<.,"(m//"g E",~/}/<fI';Prod"(H 2 (April
I <J7i). p. I I of many groups to break up after initial formation because a workable
"'''Recording Studios in Proti: Pinch," V",./ely (2 Dccember ['no), p. I. practice schedule cannot be maintained. Here are some typical examples
of nonmusical factors affecting the existence of group music.