Book contents
- Frontmatter
- Introduction
- Learning to live with recording
- A short take in praise of long takes
- 1 Performing for (and against) the microphone
- Producing a credible vocal
- ‘It could have happened’: The evolution of music construction
- 2 Recording practices and the role of the producer
- Still small voices
- Broadening horizons: ‘Performance’ in the studio
- 3 Getting sounds: The art of sound engineering
- Limitations and creativity in recording and performance
- Records and recordings in post-punk England, 1978–80
- 4 The politics of the recording studio: A case study from South Africa
- From Lanza to Lassus
- 5 From wind-up to iPod: Techno-cultures of listening
- A matter of circumstance: On experiencing recordings
- 6 Selling sounds: Recordings and the record business
- Revisiting concert life in the mid-century: The survival of acetate discs
- 7 The development of recording technologies
- Raiders of the lost archive
- The original cast recording of West Side Story
- 8 The recorded document: Interpretation and discography
- One man's approach to remastering
- Technology, the studio, music
- Reminder: A recording is not a performance
- 9 Methods for analysing recordings
- 10 Recordings and histories of performance style
- Recreating history: A clarinettist's retrospective
- 11 Going critical: Writing about recordings
- Something in the air
- Afterword: Recording: From reproduction to representation to remediation
- Notes
- Bibliography
- Discography
- Index
Bibliography
Published online by Cambridge University Press: 28 September 2011
- Frontmatter
- Introduction
- Learning to live with recording
- A short take in praise of long takes
- 1 Performing for (and against) the microphone
- Producing a credible vocal
- ‘It could have happened’: The evolution of music construction
- 2 Recording practices and the role of the producer
- Still small voices
- Broadening horizons: ‘Performance’ in the studio
- 3 Getting sounds: The art of sound engineering
- Limitations and creativity in recording and performance
- Records and recordings in post-punk England, 1978–80
- 4 The politics of the recording studio: A case study from South Africa
- From Lanza to Lassus
- 5 From wind-up to iPod: Techno-cultures of listening
- A matter of circumstance: On experiencing recordings
- 6 Selling sounds: Recordings and the record business
- Revisiting concert life in the mid-century: The survival of acetate discs
- 7 The development of recording technologies
- Raiders of the lost archive
- The original cast recording of West Side Story
- 8 The recorded document: Interpretation and discography
- One man's approach to remastering
- Technology, the studio, music
- Reminder: A recording is not a performance
- 9 Methods for analysing recordings
- 10 Recordings and histories of performance style
- Recreating history: A clarinettist's retrospective
- 11 Going critical: Writing about recordings
- Something in the air
- Afterword: Recording: From reproduction to representation to remediation
- Notes
- Bibliography
- Discography
- Index
- Type
- Chapter
- Information
- The Cambridge Companion to Recorded Music , pp. 329 - 344Publisher: Cambridge University PressPrint publication year: 2009