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Notes introduction 1. Brian Massumi, “Translator’s Foreword: Pleasures of Philosophy,” introduction to A Thousand Plateaus: Capitalism and Schizophrenia, by Gilles Deleuze and Félix Guattari, trans. Brian Massumi (Minneapolis and London: University of Minnesota Press, 1987), xiii–xiv. 2. For an overview of philosophical perspectives, see Theodore Gracyk, “Listening to Music: Performances and Recordings,” Journal of Aesthetics and Art Criticism 55.2 (1997): 139–50. Rattle interviewed by James Badal, Recording the Classics: Maestros, Music, and Technology (Kent, OH and London : Kent State University Press, 1996), 74; Roman Ingarden, The Work of Music and the Problem of Its Identity, trans. Adam Czerniawski (Berkeley: University of California Press, 1986), 27; Lewis Lockwood, “Film Biography as Travesty: Immortal Beloved and Beethoven,” Musical Quarterly 81.2 (1997): 190–98. 3. In the United Kingdom, by contrast, there exists the AHRC Research Centre for the History and Analysis of Recorded Music, which aims to “promote the study of music as performance through a specific focus on recordings .” A cooperative endeavor of Royal Holloway, University of London with King’s College, London and the University of Sheffield, CHARM opened in 2004. It is scheduled to be succeeded in October 2009 by the AHRC Research Centre for Musical Performance as Creative Practice, which will shift focus to the interaction between performers and recordings. 4. Richard Taruskin, Text and Act: Essays on Music and Performance (New York and Oxford: Oxford University Press, 1995), 43. 5. Theodor Helm, Beethovens Streichquartette (Leipzig: Fritzsch, 1885), 168, quoted in Leon Botstein, “The Patrons and Publics of the Quartets: Music , Culture, and Society in Beethoven’s Vienna,” in The Beethoven Quartet Companion, ed. Robert Winter and Robert Martin (Berkeley, Los Angeles, and London: University of California Press, 1994), 107. 253 6. Paul du Gay, Stuart Hall, Linda Janes, Hugh Mackay, and Keith Negus, Doing Cultural Studies:The Story of the Sony Walkman (London: Sage, in association with The Open University, 1997), 23. 7. Robert Philip, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900–1950 (Cambridge: Cambridge University Press, 1992); Mark Katz, Capturing Sound: How Technology Has Changed Music (Berkeley, Los Angeles, and London: University of California Press, 2004); Timothy Taylor, Strange Sounds: Music, Technology, and Culture (New York and London: Routledge, 2001); Hans-Joachim Braun, Music and Technology in the Twentieth Century (Baltimore and London: Johns Hopkins University Press, 2002). 8. Du Gay et al., Doing Cultural Studies; Tia DeNora, Music in Everyday Life (Cambridge and New York: Cambridge University Press, 2000). 9. Colin Symes, Setting the Record Straight: A Material History of Classical Recording (Middletown, CT: Middletown University Press, 2004), 245. The most interesting part of the book is the chapter “The Best Seat in the House: The Domestication of the Concert Hall,” in which Symes broaches the topics of sound spaces and listening locations. 10. Eric F. Clarke, Ways of Listening: An Ecological Approach to the Perception of Musical Meaning (Oxford and New York: Oxford University Press, 2005). The chapter that comes closest to my own concerns, which tend to be at once more materialist and work-oriented than Clarke’s, is “Autonomy/Heteronomy and Perceptual Style,” 126–55. 11. Philip Auslander, Liveness: Performance in a Mediatized Culture (London and New York: Routledge, 1999). 12. Evan Eisenberg, The Recording Angel: Explorations in Phonography (New York: McGraw-Hill, 1987); recently republished, with the addition of two brief afterwords, as The Recording Angel: Music, Records, and Culture from Aristotle to Zappa, 2nd ed. (New Haven, CT and London: Yale University Press, 2005). 13. Jonathan Goldman, “Éditorial: De la musique, de la contemporanéité et du plaisir,” Circuit—Musiques Contemporaines 16.3 (August 2006), http:// (accessed 4 September 2008); my translation. 14. E.T.A. Hoffmann, “Beethoven’s Instrumental Music” (1810–13), in Source Readings in Music History, vol. 6, The Nineteenth Century, ed. Ruth A. Solie, rev. ed. (New York and London: W.W. Norton, 1998), 151. 15. A good place to begin regarding the question of absolute music as a cultural construct is Susan McClary’s “Narrative Agendas in ‘Absolute’ Music: Identity and Difference in Brahms’s Third Symphony,” in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Ruth A. Solie (Berkeley: University of California Press, 1993), 326–44. 16. Carl Dahlhaus, “Absolute Music as an Esthetic Paradigm,” in The Idea of Absolute Music, trans. Roger Lustig (Chicago and London: University of Chicago Press, 1989), 1–17. 254 / Notes to Pages 4–7 Notes to Pages...


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