The playback of recordings is the primary means of experiencing
music in contemporary society, and in recent years 'classical'
musicologists and popular music theorists have begun to examine the
ways in which the production of recordings affects not just the
sound of the final product but also musical aesthetics more
generally. Record production can, indeed, be treated as part of the
creative process of composition. At the same time, training in the
use of these forms of technology has moved from an apprentice-based
system into university education. Musical education and music
research are thus intersecting to produce a new academic field: the
history and analysis of the production of recorded music. This book
is designed as a general introductory reader, a text book for
undergraduate degree courses studying the creative processes
involved in the production of recorded music. The aim is to
introduce students to the variety of approaches and methodologies
that are currently being employed by scholars in this field. The
book is divided into three sections covering historical approaches,
theoretical approaches and case studies and practice. There are
also three interludes of commentary on the academic contributions
from leading record producers and other industry professionals.
This collection gives students and scholars a broad overview of the
way in which academics from the analytical and practice-based areas
of the university system can be brought together with industry
professionals to explore the ways in which this new academic field
should progress.
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