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Cambridge Companion to Recorded Music

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ISBN-10: 0521865824

ISBN-13: 9780521865821

Edition: 2009

Authors: Eric Clarke, Nicholas Cook, Daniel Leech-Wilkinson, John Rink

List price: $135.00
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Book details

List price: $135.00
Copyright year: 2009
Publisher: Cambridge University Press
Publication date: 11/26/2009
Binding: Hardcover
Pages: 380
Size: 7.00" wide x 10.00" long x 1.00" tall
Weight: 1.980
Language: English

David Clarke is Professor of Music at the University of Newcastle upon Tyne. He is a music theorist in the broadest sense, interested in analytical, philosophical, and cultural approaches to musical and meaning. These concerns have informed his work on the British composer, Michael Tippett, on whom he is a leading authority and the author of several books and essays. Similar priorities have also shaped his recent research into cultural pluralism and musical postmodernism-which has yielded articles on Eminem, 'Elvis and Darmstadt', and BBC Radio 3's 'Late Junction'. David Clarke is also a practicing musician-a violinist and conductor, and lately a vocalist in the North Indian khy?l…    

List of illustrations
Notes on contributors
Introduction: The editors
Personal takes: Learning to live with recording
A short take in praise of long takes
Performing for (and against) the microphone
Personal takes: Producing a credible vocal
'It could have happened': The evolution of music construction
Recording practices and the role of the producer
Personal takes: Still small voices
Broadening horizons: 'Performance' in the studio
Getting sounds: The art of sound engineering
Personal takes: Limitations and creativity in recording and performance
Records and recordings in post-punk England, 1978-80
The politics of the recording studio: A case study from South Africa
Personal take: From Lanza to Lassus
From wind-up to iPod: Techno-cultures of listening
Personal take: A matter of circumstance: On experiencing recordings
Selling sounds: Recordings and the record business
Personal take: Revisiting concert life in the mid-century: The survival of acetate discs
The development of recording technologies
Personal takes: Raiders of the lost archive
The original cast recording of West Side Story
The recorded document: Interpretation and discography
Personal takes: One man's approach to remastering
Technology, the studio, music
Reminder: A recording is not a performance
Methods for analysing recordings
Recordings and histories of performance style
Personal take: Recreating history: A clarinettist's retrospective
Going critical: Writing about recordings
Personal take: Something in the air
Afterword: Recording: From reproduction to representation to remediation