
The Cambridge Companion to Recorded Music
by Edited by Nicholas Cook , Eric Clarke , Daniel Leech-Wilkinson , John Rink-
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Summary
Table of Contents
List of illustrations | p. viii |
Notes on contributors | p. xi |
Acknowledgements | p. xviii |
Introduction | |
The editors | p. 1 |
Personal takes: Learning to live with recording | p. 10 |
A short take in praise of long takes | p. 13 |
Performing for (and against) the microphone | p. 16 |
Personal takes: Producing a credible vocal | p. 30 |
'It could have happened': The evolution of music construction | p. 32 |
Recording practices and the role of the producer | p. 36 |
Personal takes: Still small voices | p. 54 |
Broadening horizons: 'Performance' in the studio | p. 59 |
Getting sounds: The art of sound engineering | p. 63 |
Personal takes: Limitations and creativity in recording and performance | p. 77 |
Records and recordings in post-punk England, 1978-80 | p. 80 |
The politics of the recording studio: A case study from South Africa | p. 84 |
Personal take: From Lanza to Lassus | p. 98 |
From wind-up to iPod: Techno-cultures of listening | p. 102 |
Personal take: A matter of circumstance: On experiencing recordings | p. 116 |
Selling sounds: Recordings and the record business | p. 120 |
Personal take: Revisiting concert life in the mid-century: The survival of acetate discs | p. 140 |
The development of recording technologies | p. 149 |
Personal takes: Raiders of the lost archive | p. 177 |
The original cast recording of West Side Story | p. 181 |
The recorded document: Interpretation and discography | p. 186 |
Personal takes: One man's approach to remastering | p. 210 |
Technology, the studio, music | p. 214 |
Reminder: A recording is not a performance | p. 217 |
Methods for analysing recordings | p. 221 |
Recordings and histories of performance style | p. 246 |
Personal take: Recreating history: A clarinettist's retrospective | p. 263 |
Going critical: Writing about recordings | p. 267 |
Personal take: Something in the air | p. 283 |
Afterword Recording: From reproduction to representation to remediation | p. 286 |
Notes | p. 305 |
Bibliography | p. 329 |
Discography | p. 345 |
Index | p. 349 |
Table of Contents provided by Ingram. All Rights Reserved. |
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