Recorded Music in Creative Practices Mediation, Performance, Education SEMPRE Studies in The Psychology of Music Series

Recorded Music in Creative Practices: Mediation, Performance, Education brings new critical perspectives on recorded music research, artistic practice, and education into an active dialogue.

Although scholars continue to engage keenly in the study of recordings and studio practices, less attention has been devoted to integrating these newer developments into music curricula. The fourteen chapters in this book bring fresh insight to the art and craft of recording music and offer readers ways to bridge research and pedagogy in diverse educational, academic, and music industry contexts. By exploring a wide range of genres, methods, and practices, this book aims to demonstrate how engaging with recordings, recording processes, material artefacts, studio spaces, and revised music history narratives means we can promote new understandings of the past, more creative performance in the present, and freer collaboration and experimentation inside and outside of the recording studio; enhance creative teaching and learning; inform and stimulate reform of the institutional processes and structures that frame musical training; and ultimately promote more diverse music curricula and communities of practice.

This book will be of value to educators, researchers, practitioners (performers, composers, recordists), students in music and music-related fields, recording enthusiasts, and readers with a keen interest in the subject.

List of figures

List of tables

List of music examples

Note for the reader about e-resources

List of online video examples

Notes on contributors

Acknowledgements

Introduction: New approaches to integrating the study and practice of recording in higher music education

PART I – Recordings as agents of mediation

1. History, imitation, and freedom in classical performers’ uses of recordings

2. Reinterpreting the history of the tenor voice: An autoethnographic study using early recordings

3. The enchantment of phonography: Materiality and mediation in early twentieth-century children’s recordings

4. Recorded performance reviewed: Discovering classical music recordings through critics’ writings

PART II – (Re)creative performances in context

5. Creative processes in recreating early recordings

6. Performing rock in the recording studio: Agency and structure within creative practice

7. Furrowing sound: Performance record cutting

8. From magnetic tape to digital media: Performative approaches to the recorded contents of Constança Capdeville’s experimental musical works

PART III – Educational prospects and challenges

9. Nurturing the musical imagination: Listening to recordings for self-regulated and creative learning

10. Early recordings and the training of performers: Lessons from a European conservatoire

11. Teaching the rights way: The case for integrating copyright into the higher music education curriculum

12. The analogue music studio: Education and research as heritage-in-process

13. New approaches to working with recordings in practice-led research and teaching of ‘world’ musics: A case study of Cuban dance music

14. Afterword: Acknowledging our cyborg identities in the music history curriculum

Index

Georgia Volioti is a Senior Lecturer in Music at the University of Surrey. Her research interests are interdisciplinary and revolve around music performance studies, music psychology, and education. Her work, which is published in leading peer-reviewed journals and edited collections, explores diverse topics such as the cultural reception, historiography, criticism and analysis of performance, the media and materiality of recording technologies, listening practices, musicians’ learning and the evaluation of performance.

Daniel Barolsky is a Professor of Music at Beloit College in Wisconsin, USA, and the co-editor and co-founder of Open Access Musicology. His research interests include performance and analysis as well as music history, theory, and pedagogy. He was originally inspired to pursue music studies because of his obsession with Glenn Gould and Jacqueline du Pré.