Recorded Music in Creative Practices

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 Constanca 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

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• Estudos teatrais
• A teoria psicológica e escolas de pensamento
• Gravação e reprodução musical
• Cognição e psicologia cognitiva

performance;recorded music;education;pedagogy;creativity;meditation