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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.
- Sales Rank: #3696531 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2010-03-08
- Original language: English
- Number of items: 1
- Dimensions: 9.72" h x .87" w x 6.85" l, 2.02 pounds
- Binding: Hardcover
- 394 pages
- Used Book in Good Condition
Review
"...Recorded Music is very well conceived and makes a unique contribution to the field. Moreover, it is expertly written and impeccably edited, and arguably belongs in every music library." --The Journal of Music and Meaning (Denmark)
"Recorded Music is an accurate document of the state of research into recorded music, and a timely work that shows just how much remains unstudied. The best chapters are ethnographic and concern clearly bounded musical forms and cultural contexts. The book also contains several useful overviews that I feel would be welcome additions to advanced undergraduate or graduate level courses in a variety of topics." --Notes, Eliot Bates, Cornell University
"recorded Music is very well conceived and makes a unique contribution to the field. Moreover, it is expertly written and impeccably edited, and arguably belongs in every music library"
-David G. Hebert, The Journal of Music and Meaning vol.9
About the Author
Amanda Bayley is Reader in Performing Arts in the Department of Music, University of Wolverhampton.
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