Waterloo campus of King's College London: Franklin Wilkins Building room 1.10, 150 Stamford Street, London - Monday 5 June 2006, 12-7pm

The interventionist production techniques commonplace in recordings of popular music have had little impact on classical audio recordings: this is because of the constraining paradigm of 'reproduction', according to which the recording is meant to recreate the concert hall experience. Decades ago Glenn Gould experimented with more creative approaches to production and sound engineering, and since then radical new possibilities have been opened up by digital technology, yet there has been no concerted attempt to transform the classical audio recording into a creative commodity that might support new modes of listening and new markets.

What might this mean and how might such new markets be created? How, for example, might the experience of classical music be transformed through home cinema technology?

To explore these issues this seminar brought together a range of perspectives from production, audio engineering, performance, composition, and the music business. Click on the links below to view the papers, abstracts and programme from this seminar (please note that for copyright reasons, music examples included in the papers may not be available to download):

This event was co-organized by CHARM and Thames Valley University as part of the WestFocus Creative Industries Network.