BookDOI
The Cambridge Companion to Recorded Music
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TLDR
Eric Clarke, Nicholas Cook, Daniel Leech-Wilkinson and John Rink as discussed by the authors discuss the importance of long takes in music performance and the role of the producer in recording practices.Abstract:
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.read more
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Journal ArticleDOI
For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn
TL;DR: In this paper, a generative model for future music studies would take the form of a relational musicology, and the model is drawn from the author's work; but signs of an incipient relational musicological model are found scattered across recent research in musicology and ethnomusicology.
Vital performance: Culture, worldview, and romanticist performance practice with application in Franz Liszt’s Consolations and Années de Pèlerinage Première Année
TL;DR: In this paper, a detailed reconstruction of Romanticist style is made with attention to primary sources, including historical recordings, and a nomenclature for score annotation and an analytical paradigm for identification and application of romanticist performance characteristics are proposed.
Dissertation
Recording classical music in Britain : the long 1950s
TL;DR: In this article, the authors studied the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964, using 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s.
Book ChapterDOI
Writing about Popular Music
TL;DR: In this article, the authors explore different ways of writing about music, from the record review to the personal essay, and explore the mysterious circuitry that causes people to embrace (or require) music and how best to explore that connection on the page.