Recorded Music: Performance, Culture and Technology
Recorded Music: Performance, Culture and Technology

Edited by Amanda Bayley. Published by Cambridge University Press, 2009. Click here for further details.

Description of book

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.


  • List of figures
  • List of examples
  • List of tables
  • Notes on contributors
  • Notes and acknowledgements
  • Introduction Amanda Bayley
  • Part I - Recordings and their Contexts
Chapter 1 The Rise and Rise of Phonomusicology Stephen Cottrell
Chapter 2 Illusion and Aura in the Classical Audio Recording Peter Johnson
Chapter 3 Ethical and Cultural Issues in the Digital Era Andrew Blake
Chapter 4 The Changing Functions of Music Recordings and Listening Practices Adam Krims
  • Part II - The Recording Process
Chapter 5 Producing Performance James Barrett
Chapter 6 Modi operandi in the Making of 'World Music' Recordings John Baily
Chapter 7 Recording and the Rattle Phenomenon David Patmore
Chapter 8 Jazz Recordings and the Capturing of Performance Peter Elsdon
  • Part III - Recordings as Texts
Chapter 9 Jazz Recordings as Social Texts Catherine Tackley
Chapter 10 Recordings as Research Tools in Ethnomusicology Jonathan Stock
Chapter 11 Multiple Takes: Using Recordings to Document Creative Process Amanda Bayley
Chapter 12 The Phonographic Voice: Paralinguistic Features and Phonographic Staging in Popular Music Singing Serge Lacasse
Chapter 13 The Track Allan Moore
  • Part IV - Sonic Creations and Re-creations
Chapter 14 From Sound to Music, From Recording to Theory John Dack
Chapter 15 Modes of Appropriation: Covers, Remixes and Mash-ups in Contemporary Popular Music Virgil Moorefield
Chapter 16 Painting the Sonic Canvas: Electronic Meditation as Musical Style Albin Zak III
Epilogue Recording Technology in the Twenty-First Century Tony Gibbs
  • Notes
  • Select bibliography
  • Select discography
  • Select webography
  • Index