Cover

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Title Page, About the Series, Copyright

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pp. i-vi

Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-xii

...Eastside Records, PDQs, and Dab Nabbit's. Some of these have folded, others grown, but my research began in the aisles and beside the counters of these stores. Like all good record stores, they provided me with a new way to imagine what the...

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Introduction: Opening Tracks

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pp. xiii-xliv

...Although their collaborative efforts had yielded a small catalogue of what they considered to be attractive, if not excellent, songs, they had been unable to persuade any prominent artists to record their material...

Part I. Managing the Recording Process and Rethinking the Recording Bans

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1. Buried under the Fecundity of His Own Creations: The First Strike of the American Federation of Musicians

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pp. 3-26

...that most basic tenet of capitalism: they do not have the luxury of stasis. These machines suffer the wills of style, and without regular tuneups they fall apart, rust...

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2. Counterreform and Resignation: The Second Strike of the American Federation of Musicians

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pp. 27-48

...the manner in which recordings are able to re-present the past. Recordings not only lend significance to the presentation of moments captured but also present the absence of others. As a small child who grew up mindful of something called...

Part II. Production, Reproduction, and the Case of My Fair Lady

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3. Which Voice Best Becomes the Property? Stitching the Intertext of My Fair Lady

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pp. 51-76

...analytical options for examination, but nothing is riper for inspection than the passage's focus on the technology of sound recording. Specifically highlighting technological questions, the reviewer isolates the "trick" of dubbing, noting that the effect is something...

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4. Listening to My My Fair Lady: Versioning and the Recorded Music Object

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pp. 77-102

...romantic musical rather than retaining its instructive airs. Shaw's rendition of the Pygmalion myth would become one of Hollywood's last successful musicals, a genre whose primary aim is entertainment. The musical is so fixated on every aspect of what the term "entertainment" embodies that it is now regarded as the most...

Part III. Stereo, Hi-Fi, and the Modern Pleasures of Easy Listening

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5. A Tale of Two Ears: The Concert Hall Aesthetic and Stereo

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pp. 105-150

...Institutionally, the record is created through an assortment of concerns. We have seen how the record industry shaped the recording as a unit whose success is predicated on its exchange. Broadcasters, on the other hand, positioned the record as an essential...

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6. Space, the Pliable Frontier: Stereo as the New Spatial Palette of Audio

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pp. 151-178

...the introduction, "There's a New Sound." Not quite the smash single, the record still holds novelty if only because of the composition's status as a pop-music experiment. Popular music is replete with sonic experiments, a fact that is borne out in simple reflection. Ask yourself how many of your favorite recent pop records...

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Conclusion: The Flip Side (and a Few Concluding Thoughts)

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pp. 179-188

...between your hands, turning it over, and finding that "side," that song or performance hidden to the casual listener but imminently accessible to anyone who chooses to look for it, are actions that neatly sum up all that I find delightfully intriguing about...

Notes

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pp. 189-216

Works Cited

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pp. 217-232

Index

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pp. 233-236

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About the Author

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pp. 237-237

...TIM J. ANDERSON is assistant professor of communication at Denison University....