9780521684613

The Cambridge Companion to Recorded Music

by
  • ISBN13:

    9780521684613

  • ISBN10:

    0521684617

  • Format: Paperback
  • Copyright: 2009-12-21
  • Publisher: Cambridge University Press
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Supplemental Materials

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  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

Summary

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.

Table of Contents

List of illustrationsp. viii
Notes on contributorsp. xi
Acknowledgementsp. xviii
Introduction
The editorsp. 1
Personal takes: Learning to live with recordingp. 10
A short take in praise of long takesp. 13
Performing for (and against) the microphonep. 16
Personal takes: Producing a credible vocalp. 30
'It could have happened': The evolution of music constructionp. 32
Recording practices and the role of the producerp. 36
Personal takes: Still small voicesp. 54
Broadening horizons: 'Performance' in the studiop. 59
Getting sounds: The art of sound engineeringp. 63
Personal takes: Limitations and creativity in recording and performancep. 77
Records and recordings in post-punk England, 1978-80p. 80
The politics of the recording studio: A case study from South Africap. 84
Personal take: From Lanza to Lassusp. 98
From wind-up to iPod: Techno-cultures of listeningp. 102
Personal take: A matter of circumstance: On experiencing recordingsp. 116
Selling sounds: Recordings and the record businessp. 120
Personal take: Revisiting concert life in the mid-century: The survival of acetate discsp. 140
The development of recording technologiesp. 149
Personal takes: Raiders of the lost archivep. 177
The original cast recording of West Side Storyp. 181
The recorded document: Interpretation and discographyp. 186
Personal takes: One man's approach to remasteringp. 210
Technology, the studio, musicp. 214
Reminder: A recording is not a performancep. 217
Methods for analysing recordingsp. 221
Recordings and histories of performance stylep. 246
Personal take: Recreating history: A clarinettist's retrospectivep. 263
Going critical: Writing about recordingsp. 267
Personal take: Something in the airp. 283
Afterword Recording: From reproduction to representation to remediationp. 286
Notesp. 305
Bibliographyp. 329
Discographyp. 345
Indexp. 349
Table of Contents provided by Ingram. All Rights Reserved.

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