The Cambridge Companion to Recorded Music

The Cambridge Companion to Recorded Music

by Nicholas Cook
Pub. Date:
Cambridge University Press
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The Cambridge Companion to Recorded Music

From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. The Cambridge Companion to Recorded Music provides a detailed overview of this transformation, encompassing both classical and popular music. The main chapters are interspersed by 'personal 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.

Product Details

ISBN-13: 9780521684613
Publisher: Cambridge University Press
Publication date: 12/31/2009
Series: Cambridge Companions to Music Series
Pages: 380
Product dimensions: 6.80(w) x 9.60(h) x 0.90(d)

Table of Contents

List of illustrations viii

Notes on contributors xi

Acknowledgements xviii


The editors 1

Personal takes: Learning to live with recording Susan Tomes 10

A short take in praise of long takes Peter Hill 13

1 Performing for (and against) the microphone Donald Greig 16

Personal takes: Producing a credible vocal Mike Howlett 30

'It could have happened': The evolution of music construction Steve Savage 32

2 Recording practices and the role of the producer Andrew Blake 36

Personal takes: Still small voices Jonathan Freeman-Attwood 54

Broadening horizons: 'Performance' in the studio Michael Haas 59

3 Getting sounds: The art of sound engineering Albin Zak 63

Personal takes: Limitations and creativity in recording and performance Martyn Ware 77

Records and recordings in post-punk England, 1978-80 Richard Witts 80

4 The politics of the recording studio: A case study from South Africa Louise Meintjes 84

Personal take: From Lanza to Lassus Tully Potter 98

5 From wind-up to iPod: Techno-cultures of listening Arild Bergh Tia DeNora 102

Personal take: A matter of circumstance: On experiencing recordings Martin Elste 116

6 Selling sounds: Recordings and the record business David Patmore 120

Personal take: Revisiting concert life in the mid-century: The survival of acetate discs Lewis Foreman 140

7 The development of recording technologies George Brock-Nannestad 149

Personal takes: Raiders of the lost archive Roger Beardsley 177

The original cast recording of West Side Story Nigel Simeone 181

8 The recorded document: Interpretation and discography Simon Trezise 186

Personaltakes: One man's approach to remastering Ted Kendall 210

Technology, the studio, music Nick Mason 214

Reminder: A recording is not a performance Roger Heaton 217

9 Methods for analysing recordings Nicholas Cook 221

10 Recordings and histories of performance style Daniel Leech-Wilkinson 246

Personal take: Recreating history: A clarinettist's retrospective Colin Lawson 263

11 Going critical: Writing about recordings Simon Frith 267

Personal take: Something in the air Chris Watson 283

Afterword Recording: From reproduction to representation to remediation Georgina Born 286

Notes 305

Bibliography 329

Discography 345

Index 349

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