This book, edited by Amanda Bayley, was published by Cambridge University Press in 2010. I contributed a chapter – the epilogue – entitled “Recording technology in the twenty first century“.

Publisher’s blurb

Research in the area of recorded music is becoming increasingly diverse. Drawn together here are contributions from a variety of fields, including music performance, composition and production, cultural studies and philosophy, bringing contrasting perspectives 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 sub disciplines 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 social contexts, developments in technology and changing listening practices, to explore the ways in which recordings influence the study of music performance and the nature of musical experience.

You can find this book here.