The Cambridge Companion to Recorded Music

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

Table of Contents

List of illustrationsp. viii
Notes on contributorsp. xi
Acknowledgementsp. xviii
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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