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© in This Web Service Cambridge University Cambridge University Press 978-0-521-86309-4 - Recorded Music: Performance, Culture and Technology Edited by Amanda Bayley Index More information Index Abbey Road Studios 93 analysis 24, 26–27, 278, 286, 288 acculturation see world music of performance, 7, 9, 149–58, 168–9, 221, 228 acousmatics 111, 274–5, 276–7; see also of popular song 230–45, 257–63, 308–9; Schaeffer, Pierre sound-box model 258–9, 261 Acoustical Society of America (ASA) 90 social 68, 69–71 acoustics 289; see also performance space of texture 258, 309 ‘A Day in the Life’ (John Lennon) of timbre 225–45, 256, 257–9 255, 264 of vibrato 26 Adderley, Cannonball 97 Ancora (II Divo) 54 ‘Adia’ (Sarah McLachlan) 72 Ano! (Brathanki) 54 Adorno, Theodor W. 3, 28, 44, 47, 78, Anonymous 4 (vocal ensemble) 74 81–2, 169 anthropology 211–12, 217 advertising 6, 47, 65n.1, 72, 112, 120, 255–6 application of, 211–12 AEG/Telefunken 92; see also technology Anywhere But Here (film) 71 aesthetics, 37, 45, 100, 289, 307; see also Apple Computer Inc. see computer; technology recording and aesthetics; recording Apple, Fiona 71 as illusion Arctic Monkeys, The 52 of jazz 148–9, 153, 157–60 Arhoolie record label 112 of popular music 307–8 Armstrong, Louis 61 of rock and roll 310, 319 Arom, Simha 98 Afghan music 115–17 Arona (Senegalese drummer) 118 African music 99, 118, 199 Arrieu, Claude 273 African Music (journal) 114 Asch, Moses 112–13 African Music Society 114 Atlantic Studios 93, 94 African Sanctus (David Fanshaw) 99 Attali, Jacques 44, 65 Afrikaa Bambaataa 299 audience feedback 6, 40–1, 45, 82, 158, Akai S1000, 55, 60; see also technology: 180–1, 265 sampling devices ‘Au port’ (Camille Dalmais) 227 Aldeburgh Festival 135 ‘aura’ see Benjamin, Walter Algerian music 199 authenticity 9, 37–48, 83, 111, 114, 122, 125, Alias, Don 98 136, 140, 153, 160, 168, 169, 176–7, 192, ‘All Along the Watchtower’ 291; see also Dylan, 206–7, 208, 255–6, 312; see also recording: Bob; Hendrix, Jimi fidelity; performance ‘All Blues’ (Miles Davis) 97, 177 authority 148, 209; see also copyright Allen, Graham 159 authorship 49n.13, 55–61, 63–64, 120, 121, 148, Ally McBeal (TV series) 72, 73, 76 171, 175, 176, 252–3, 263–4, 291–304; see Alpert, Herb 262 also authenticity; recording: fidelity; ambience 2, 90, 92–3, 260, 261, 293, 295, 313, performance 314–16; see also reverberation automatic double tracking (ADT) 317–18, 320; Ami (Taiwanese tribe) 59 see also recording process Amos, Tori 7, 71, 230, 231–7, 239 Auvidis record label 112, 113 Ampex 300 series 92, 103n.13; see also Avalanches, 57 recording process; technology avant-garde 54, 64, 177, 309 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86309-4 - Recorded Music: Performance, Culture and Technology Edited by Amanda Bayley Index More information Index 361 BaAka pygmies (Central African Blumlein, Alan 91, 93, 96 Republic) 211 BMG record label 59 Badal, James 125, 127, 129, 135, 138, Bohlman, Philip 100 206, 208 Bongiovi, Tony, 294–5, 305; see also record Baily, John, recording Afghan music 115–17 producers Baker, Roy Thomas 317; see also record Booker T. and the M.G.’s 313 producers Botrill, Dave 118, 119; see also recording Bambaataa, Afrikaa, 299; see also DJ engineers Bärenreiter UNESCO series 113 Boulanger, Nadia 273 Barthes, Roland 159 Boulez, Pierre 206–7, 208; see also performance Bartók, Béla 16, 131 Bourdieu, Pierre 80 Basement Jaxx 56 Bournemouth Symphony Orchestra 137 bastard pop 63 Bovell, Dennis 257; see also record producers Bateson, Gregory 241 Bowen, José A. 68, 159 Baudrillard, Jean 44–6, 65 Bowie, David 56, 295 Bayle, François 287 Bowman, Rob 227–8 Bayreuth 40, 136 Brackett, David 227–8 BBC Radio One 118 Brady, Erika 108–9 BBC Radio Three 54, 122 Brathanki 53–4 Beach Boys, The 292, 293–5 ‘Break on Through (To the Other Side)’ Beadle, Jeremy 132 (The Doors) 299–301 Beatles, The 63, 105n.39, 256, 260, 264, 299, Brendel, Alfred 129; see also performance 301, 315, 318, 319–20 Brenston, Jackie, and the Delta Kings 316 bebop 18, 245 British Phonograph Industry (BPI) 58 Beecham, Sir Thomas 134 Britten, Benjamin 134 Beethoven, Ludwig van 20, 40, 43, 68, 126, 128, Aspen address 39 129, 130, 140, 146 Broadbank, Robin 120 beiguan music 188–91, 192–5 Brooks, Harvey 98 Beijing opera 196–8 Brown, James 56 Bell Labs 91 Brown, Lee B. 207, 258 ‘Be My Baby’ (The Ronettes) 315 Bruner, Edward 211 Bendall, Haydn 101 Bruno, Franklin 295–6 Ben Folds Five 261–3 Bryan, Alfred 308 Benjamin, Walter 28, 38, 146 Bull, Michael 62 ‘aura’ 38, 42, 43, 44–6, 47, 48, 61 Burgess, Richard 95 Bennett, Tony 310 Burton, Gary 174 Berlin Philharmonic Orchestra 125 Butterfield, Matthew 147, 158, 168, 170, Berlin Phonogrammarchiv 109 179, 221 Berliner, Emile 109 Bernstein, Leonard 132 Cage, John 64 Billboard (journal) 108, 113, 296 Cale, John 74, 75 bimusicality see Hood, Mantle Cantelli, Guido 127; see also performance Birmingham Contemporary Music Group 132; Capitol Studios 94 see also City of Birmingham Symphony Carewe, John 129 Orchestra Cars, The 298 Birth of the Cool (Miles Davis) 170, 173 Casella, Teresa 74 Bitches Brew (Miles Davis) 98 cassette recorder 29, 116; see also technology Black Album, The (Jay-Z) 63, 301 Caton, Margaret 25 Blacking, John 5, 107, 115–16 Caw, Tom 17 blank-tape levy 57 Celibidache, Sergiu 127; see also performance ‘Blue Moon of Kentucky’ (Elvis Presley) 317 Celtic style 76 Blue Note record label 329 Central African Republic 98, 211 blues 170, 172, 176, 177, 263 Chailly, Ricardo 128; see also performance © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86309-4 - Recorded Music: Performance, Culture and Technology Edited by Amanda Bayley Index More information 362 Index Chambers, Paul 97 computer, 53, 55, 301, 325, 326, 327, 328, 331; Chanan, Michael 3, 42–3, 44, 45, 68 see also mash-up; remix; technology ‘Chasin’ the Trane’ (John Coltrane) 149–58, 160 Apple Computer Inc., 55–8, 61 ‘Chasin’ Another Trane’ (John Coltrane) 152 games 95, 96, 332 Cheap Trick (pop artist) 298; see also remix hardware 55, 60, 331 Chester, Andrew 263, 292 Microsoft 70 Chic 292 as real-time musical instrument 55, 288 Chicago house music 299 software 55, 301, 326, 328 Chilton, John 171 concept album 329 Chinese music 187, 188–91, 192–5 conductors 4, 5, 6, 44, 125–41, 169, 206–7 Chinese opera 196–8 ‘Confess’ (Patti Page) 310 Chion, Michel 286, 287 consumer 15–16, 28–30, 61–3, 68–83, 100–2, Church, Michael 122 178–82, 325–7, 329–31; see also Churchyard, Steve 100; see also record advertising; marketing; recording: producers listening to Circle of Life (Ying-Nan Kuo) 59 contemporary music 3, 9, 64, 207, 213–20, City of Birmingham Symphony Orchestra 271–89 (CBSO) 5, 127, 132–40 Cook, Nicholas 29, 64, 68, 100, 159–60, 207, Ciyun Ensemble 189 210, 212 Clarke, Arthur C. 304 Cooper, Imogen 125 Clarke, Eric F. 3, 8, 147, 207, 212 Copper family 200–1 Clash, The 298 copyright 52, 55, 56, 57–61, 63–4, 65, 116–17, Classic CD (magazine) 132 121, 152–3, 171, 175, 176, 208, 288, Classic FM 54 296, 302 classical music 2–6, 19–31, 37–48, 53, 54, 60–1, Copyright and Related Rights Regulations 58 64–5, 68–83, 95, 99, 148, 191, 192, 206–21, Corea, Chick 98 265, 293, 298, 311, 329 country music 72, 312 crossover with popular music 54, 74–5 cover versions 7, 64, 192, 291–6, 303 ‘Claudy Banks’ 200–1 definition of 292, 295 close mic’ing 92–3, 96, 100–1; see also Cowan, Rob 125 microphone; recording process; Cox, Christoph 64 technology creative practice 7–8, 19, 288, 308, 321, 326, 327, club dance music 121 330, 331; see also experimentation; remix; Cobb, Jimmy 97, 176 sampling Cocteau Twins 315 Cretu, Michael 59 Coleman, Michael 110 Cross of Changes (Enigma) 59 Coleman, Ornette 177 Crow, Sheryl 101 Coltrane, John 4, 97, 149–58, 159, 177 Crystals, The 315 and group 149, 153, 158 ‘Cuban Love Song, The’ (Lawrence Tibbett) 91 influence of recording on performance Culshaw, John 39, 47; see also record 153–6 producers Columbia 91, 98, 176, 310, 313, 315 Curly M. C. 59 Columbia HB1A, 90; see also microphone; recording process; technology Dahl, Steve 302 Colvin, Shawn 71 Dailly, Patrick 239–41 compact disc (CD), 15, 38, 56, 58, 113, 117, 133, ‘Dali’ (Martin Grech) 257, 265 138, 148, 150, 173, 178, 201, 278, 329; see Dalmais, Camille 225, 227, 244 also technology Danger Mouse 63, 65, 301; see also DJ; Grey comparative musicology see ethnomusicology Album, The Composers Desktop Project 55, 328 Danielou, Alain 113 composition 7, 8–9, 148, 271, 315, 319–21; see ‘Darkness’ (Peter Gabriel) 241–3 also creative practice; electroacoustic Davis, Miles 4, 97–8, 149, 153, 170, 173–4, composition 175, 210 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86309-4 - Recorded Music: Performance, Culture and Technology Edited by Amanda Bayley Index More information Index 363 Dawson’s Creek (TV series) 72 electroacoustic composition 8, 37, 271, 286, Day, Ron and Jenny 200–2 287–8, 328; see also Schaeffer, Pierre death metal 244 EMI 93, 132–3, 136–8, 139 Decca Studios 94, 96, 127 Eminem 231–3 Deep Forest 121 emo 53 Deep Purple 250n.53 English folk music 187, 200–2; see also folk de Forest audion vacuum tube 90; see also music recording process; technology Enigma 59–60, 65 DeJohnette, Jack 98 Eno, Brian 64, 299; see also record producers Der Ring des Nibelungen (Wagner) 136 equalisation (EQ) 293, 310, 318 DeVeaux, Scott 17 ‘Eroica’ Symphony 130 Devo 298; see also remix ethnography of recording 3, 21, 47, 59, 120, Dewey, John 227 210–12 Die Presse (newspaper) 140
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