Nicholas Cook - The Cambridge Companion to Recorded Music
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From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by short takes - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.
Nicholas Cook: author's other books
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Nicholas Cook
Nicholas Cook
Nicholas Cook
Hendrik Storstein Spilker
Sam Jackson
Laura Hamer (Editor)
Gould Glenn
Cook Nicholas (editor)
Joshua S. Walden (Editor)
Nicholas Cook
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The Cambridge Companion to Recorded Music
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. The Cambridge Companion to Recorded Music provides a detailed overview of this transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are complemented by personal takes contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of areas from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.
Nicholas Cook is 1684 Professor of Music at the University of Cambridge.
Eric Clarke is Heather Professor of Music at the University of Oxford.
Daniel Leech-Wilkinson is Professor of Music at Kings College, London.
John Rink is Professor of Musical Performance Studies at the University of Cambridge.
The Cambridge Companion to Recorded Music
Edited by
Nicholas Cook , Eric Clarke , Daniel Leech-Wilkinson and John Rink
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: http://www.cambridge.org/9780521688659
Cambridge University Press 2009
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2009
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
ISBN 978-0-521-86582-1 hardback
ISBN 978-0-521-68461-3 paperback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
Contents
The editors
Personal takes:Susan Tomes
Peter Hill
Donald Greig
Personal takes:Mike Howlett
Steve Savage
Andrew Blake
Personal takes:Jonathan Freeman-Attwood
Michael Haas
Albin Zak
Personal takes:Martyn Ware
Richard Witts
Louise Meintjes
Personal take:Tully Potter
Arild Bergh and Tia DeNora
Personal take:Martin Elste
David Patmore
Personal take:Lewis Foreman
George Brock-Nannestad
Personal takes:Roger Beardsley
Nigel Simeone
Simon Trezise
Personal takes:Ted Kendall
Nick Mason
Roger Heaton
Nicholas Cook
Daniel Leech-Wilkinson
Personal take:Colin Lawson
Simon Frith
Personal take:Chris Watson
Georgina Born
Illustrations
Notes on contributors
Roger Beardsley is a recording engineer specialising in the restoration of older formats of recording including 78 rpm discs and analogue tapes at his own studio in Lincolnshire. Current positions reflect this specialism: he is a member of the boards of Music Preserved (a broadcast performances archive), Historic Masters (re-pressings of 78s direct from original masters) and the Historic Singers Trust. In addition he is technical consultant to the Sound Archive at Kings College London and York University Sound Archives. He is a lifelong music lover with a wide range of tastes, but with a bias towards vocal and opera.
Arild Bergh is currently working on a PhD on the topic of music and conflict transformation at the University of Exeter, with fieldwork in Norway and Sudan. He is an editor of the journal Music and Arts in Action ( www.musicandartsinaction.net ). He has previously worked as a music journalist and researched and written on topics ranging from immigrant music in Europe to cassette music culture and underground music in communist countries. Recent published work includes Id like to teach the world to sing: Music and conflict transformation ( Musicae Scientiae , special issue, 2007) and Everlasting love: The sustainability of top-down versus bottom-up approaches to music and conflict transformation ( Sustainability: A New Frontier for the Arts and Cultures , 2008).
Andrew Blake is Associate Dean of the School of Social Sciences, Media and Cultural Studies at the University of East London. For a while in the 1980s he was a professional saxophonist. His writings on music include The Music Business (1992); The Land Without Music (1997); Living through Pop (1999, as editor); and Popular Music: The Age of Multimedia (2007), alongside numerous chapters and articles including a contribution to The Cambridge History of Twentieth-Century Music (2004). He has also written widely on other cultural matters; his book The Irresistible Rise of Harry Potter (2002) has been translated into five languages.
Georgina Born is Professor of Sociology, Anthropology and Music at Cambridge University, and Honorary Professor of Anthropology at University College London. She has been a Fellow of Emmanuel College Cambridge (19982006), Senior Research Fellow, Kings College, Cambridge (19978), and a Fellow of the University of California, Humanities Research Institute (20023), and is an International Fellow of the Australian Sociological Association and of Yale Universitys Center for Cultural Sociology. Her books are Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (1995), Western Music and Its Others: Difference, Representation and Appropriation in Music (2000) and Uncertain Vision: Birt, Dyke, and the Reinvention of the BBC (2005).
George Brock-Nannestad Born in 1946, George Brock-Nannestad graduated in electronics and signal processing in 1971 and is a European patent attorney, focusing on musical acoustics. From 1981 to 1986 he carried out the project The establishment of objective criteria for correct reproduction of historical sound recordings, funded by the Danish Research Council for the Humanities. From 1991 to 1998 he was responsible for research and tuition in preservation and restoration of carriers for sound, moving images, and data at the Royal Danish Academy for Fine Art. Since 1997 George has been providing consultation and research on patents, restoration concepts and the history of AV technology. He is a member of several academic and professional organisations, including the Acoustical Society of America, the Audio Engineering Society, the International Council of Museums, and the Danish Musicological Society.
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