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…mehr
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.
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.
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