Research in the area of recorded music is becoming increasingly diverse. Contributions from a variety of fields, including music performance, composition and production, cultural studies and philosophy, are drawn together here, for the contrasting perspectives they bring to a range of music genres. Discourses in jazz, ethnomusicology and popular music - whose histories and practices have evolved principally from recordings - are presented alongside those of Western classical music, where analysis of recordings is a relatively recent development. Different methodologies have evolved in each of these subdisciplines where recordings have been contextualised variously as tools, texts, or processes, reflective of social practices. This book promotes the sharing of such differences of approach. Attitudes of performers are considered alongside developments in technology, changing listening practices, and social contexts, to explore the ways in which recordings influence the study of music performance and the nature of musical experience.
Introduction Amanda Bayley; Part I. Recordings and their Contexts: 1. The rise and rise of phonomusicology Stephen Cottrell; 2. Illusion and aura in the classical audio recording Peter Johnson; 3. Ethical and cultural issues in the digital era Andrew Blake; 4. The changing functions of music recordings and listening practices Adam Krims; Part II. The Recording Process: 5. Producing performance James Barrett; 6. Modi operandi in the production of 'world music' recordings John Baily; 7. Recording and the Rattle phenomenon David Patmore; 8. Jazz recordings and the 'capturing' of performance Peter Elsdon; Part III. Recordings as Texts: 9. Jazz recordings as social texts Catherine Tackley; 10. Recordings as research tools: perspectives from ethnomusicology Jonathan Stock; 11. Multiple takes: using recordings to document creative process Amanda Bayley; 12. The phonographic voice: paralinguistic features and phonographic staging in popular music singing Serge Lacasse; 13. The track Allan Moore; Part IV. Sonic Creations and Re-Creations: 14. From sound to music, from recording to theory John Dack; 15. Modes of appropriation: covers, remixes and mash-ups in contemporary popular music Virgil Moorefield; 16. Painting the sonic canvas: electronic mediation as musical style Albin Zak; Epilogue: 17. Recording technology in the twenty-first century Tony Gibbs; Select bibliography; Select discography; Select webography.
