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