Book contents
- The Beatles in Context
- Composers In Context
- The Beatles in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Chronology
- Part I Beatle People and Beatle Places
- Part II The Beatles in Performance
- Part III The Beatles on TV, Film, and the Internet
- Part IV The Beatles’ Sound
- Chapter 16 Abbey Road Studios
- Chapter 17 Producing Sound Pictures with Sir George Martin
- Chapter 18 Rock ’n’ Roll Music! The Beatles and the Rise of the Merseybeat
- Chapter 19 Positively Bob Dylan: The Beatles and the Folk Movement
- Chapter 20 “Listen to the Colour of Your Dreams”: The Beatles Writ Psychedelic
- Chapter 21 Getting Back
- Chapter 22 On the Record! (Dis)Covering the Beatles
- Part V The Beatles as Sociocultural and Political Touchstones
- Part VI The Beatles’ Critical Reception and Cultural Legacy
- Further Reading
- Index
Chapter 22 - On the Record! (Dis)Covering the Beatles
from Part IV - The Beatles’ Sound
Published online by Cambridge University Press: 10 January 2020
- The Beatles in Context
- Composers In Context
- The Beatles in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Chronology
- Part I Beatle People and Beatle Places
- Part II The Beatles in Performance
- Part III The Beatles on TV, Film, and the Internet
- Part IV The Beatles’ Sound
- Chapter 16 Abbey Road Studios
- Chapter 17 Producing Sound Pictures with Sir George Martin
- Chapter 18 Rock ’n’ Roll Music! The Beatles and the Rise of the Merseybeat
- Chapter 19 Positively Bob Dylan: The Beatles and the Folk Movement
- Chapter 20 “Listen to the Colour of Your Dreams”: The Beatles Writ Psychedelic
- Chapter 21 Getting Back
- Chapter 22 On the Record! (Dis)Covering the Beatles
- Part V The Beatles as Sociocultural and Political Touchstones
- Part VI The Beatles’ Critical Reception and Cultural Legacy
- Further Reading
- Index
Summary
The arrival of sound recording in the mid-nineteenth century radically changed how people experienced music. Physical presence at a performance was no longer necessary. Performances by specific artists were now preserved for playback in a personally ownable form – initially wax cylinders, then brittle shellac disks, and by the mid-twentieth century, more convenient magnetic tape and vinyl disks. Records over the radio broadcasted musical styles and genres across the land. Performances now had a life beyond the actual moment. Artists could now be appreciated and influential well beyond their active years as performers. And when the Beatles entered in the early 1960s, in a short span they helped expand what it meant to be a “recording artist” by creating music reliant on studio craft to the extent that their performances could not be exactly replicated live on stage, and could in essence exist only on record.
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- The Beatles in Context , pp. 230 - 244Publisher: Cambridge University PressPrint publication year: 2020