The Cambridge Companion to Recorded Music View larger

The Cambridge Companion to Recorded Music

9780521684613

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Featuring fascinating accounts from practitioners including performers and producers, this Companion examines how developments in recording have transformed musical culture.

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£ 18.99

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Edited by Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson, John Rink


From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it: the impact of recording on performance styles: studio practices, viewed from the perspectives of performer, producer and engineer: and approaches to the study of recordings. The main chapters are interspersed by ‘short takes’ – short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.


Bibliographic Details


25 b/w illus. 1 table


Contents

  • Introduction Eric Clarke, Nicholas Cook, Daniel Leech-Wilkinson and John Rink
  • Personal takes: learning to live with recording Susan Tomes
  • A short take in praise of long takes Peter Hill
  • 1. Performing for (and against) the microphone Donald Greig
  • Personal takes: producing a credible voice Mike Howlett
  • It could have happened: the evolution of music construction Steve Savage
  • 2. Recording practices and the role of the producer Andrew Blake
  • Personal takes: still small voices Jonathan Freeman-Attwood
  • Broadening horizons: performance in the studio Michael Haas
  • 3. Getting sounds: the art of sound engineering Albin Zak
  • Personal takes: limitations and creativity in recording and performance Martyn Ware
  • Records and recordings in post-punk England, 1978–80 Richard Witts
  • 4. The politics of the recording studio Louise Meintjes
  • Personal take: from Lanza to Lassus Tully Potter
  • 5. From wind-up to iPod: techno-cultures of listening Arild Bergh and Tia DeNora
  • Personal take: a matter of circumstance: on experiencing recordings Martin Elste
  • 6. Selling sounds: recordings and the music business David Patmore
  • Personal take: revisiting concert life in mid-century: the survival of acetate discs Lewis Foreman
  • 7. The development of recording technologies George Brock-Nannestad
  • Personal takes: raiders of the lost archive Roger Beardsley
  • The original cast recording of West Side Story Nigel Simeone
  • 8. The recorded document: interpretation and discography Simon Trezise
  • Personal takes: one mans approach to remastering Ted Kendall
  • Technology, the studio, music Nick Mason
  • Reminder: a recording is not a performance Roger Heaton
  • 9. Methods for analysing recordings Nicholas Cook
  • 10. Recordings and histories of performance style Daniel Leech-Wilkinson
  • Personal take: recreating history: a clarinettists perspective Colin Lawson
  • 11. Going critical. Writing about recordings Simon Frith
  • Personal take: something in the air Chris Watson
  • 12. Afterword: from reproduction to representation to remediation Georgina Born
  • Global bibliography
  • Global discography.

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