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The Cambridge Companion to Recorded Music
The Cambridge Companion to Recorded Music.

The Cambridge Companion to Recorded Music

; ; ;

  • ISBN: 978-0-521-68461-3
  • Editorial: Cambridge University Press
  • Colección: The Cambridge Companion
  • Encuadernación: Rústica
  • Formato: 17,4x24,7
  • Páginas: 380
  • Idiomas: Inglés
  • Tipo: LIBRO


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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.

- Contains a large number of ‘personal takes’ by practitioners and performers, which complement the main chapters and engage a wide variety of readers
- The definitive resource on this popular topic for students and other readers in areas ranging from musicology to popular culture and the media
- The contributors are internationally renowned experts acknowledged as leaders in their field


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 man's 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 clarinettist's perspective (Colin Lawson)
11. Going critical. Writing about recordings (Simon Frith)
Personal take: something in the air (Chris Watson)
12. Afterword. Recording: from reproduction to representation to remediation (Georgina Born)
Global bibliography
Global discography