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

The Cambridge Companion to Recorded Music

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  • ISBN: 978-0-521-86582-1
  • Editorial: Cambridge University Press
  • Colección: The Cambridge Companion
  • Encuadernación: Cartoné
  • 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.


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: from reproduction to representation to remediation Georgina Born
Global bibliography
Global discography