1. For more on the role of recording technology in the evolution of ethnomusicology see John Baily this volume, and also Kay Kaufman Shelemay, 'Recording Technology, the Record Industry, and Ethnomusicological Scholarship', in Bruno Nettl and Philip V. Bohlman (eds.), Comparative Musicology and the Anthropology of Music (Chicago: University of Chicago Press, 1991), pp. 277-92.
2. Bruno Nettl, The Study of Ethnomusicology: 29 Issues and Concepts (Urbana: University of Illinois Press, 1983), p. 67.
3. See for example Steven Feld, 'Pygmy POP: a Genealogy of Schizophonic Mimesis', Yearbook for Traditional Music 28 (1996), pp. 1-35; Hugo Zemp, 'The/An Ethnomusicologist and the Record Business', Yearbook for Traditional Music 28 (1996), pp. 36-56; or Caroline Bithell, 'Polyphonic Voices: National Identity, World Music and the Recording of Traditional Music in Corsica', British Journal of Ethnomusicology 5 (1996), pp. 39-65.
4. Percy Grainger, 'Collecting with the Phonograph', Journal of the Folk Song Society 3 (1909), p. 165.
5. Tom S. Caw, 'Popular Music Studies Information Needs: You Just Might Find …', Popular Music and Society 27/1 (2004), p. 50.
6. Simon Frith and Andrew Goodwin (eds.), On Record: Rock, Pop and the Written Word (London: Routledge, 1990).
7. Scott DeVeaux, 'Bebop and the Recording Industry: the 1942 AFM Recording Ban Reconsidered', Journal of the American Musicological Society 41/1 (1988), p. 126. See also the essays by Peter Elsdon and Catherine Tackley in this volume for more detailed consideration of jazz recordings and their role in defining the history of jazz.
8. For a concise overview of the arguments relating to the study of music as performance rather than text see Nicholas Cook, 'Music as Performance', in Martin Clayton, Trevor Herbert and Richard Middleton (eds.), The Cultural Study of Music (London: Routledge, 2003), pp. 204-14.
9. Daniel Leech-Wilkinson, 'Using Recordings to Study Musical Performance', in Andy Linehan (ed.), Aural History (London: The British Library, 2001), p. 1.
10. By way of examples, Robert Philip has shown how recordings can evidence general changes in performance practice in Early Recordings and Musical Style: Changing Tastes in Instrumental Performance (Cambridge: Cambridge University Press, 1992); Nicholas Cook has considered specific interpretative characteristics of an individual conductor: 'The Conductor and the Theorist: Furtwängler, Schenker, and the First Movement of Beethoven's Ninth Symphony', in John Rink (ed.), The Practice of Performance: Studies in Musical Interpretation (Cambridge: Cambridge University Press, 1995), pp. 105-25; and José A. Bowen has examined the relationship between studying recordings and individual interpretation: 'Finding the Music in Musicology: Performance History and Musical Works', in Nicholas Cook and Mark Everist (eds.), Rethinking Music (Oxford University Press, 1999), pp. 424-51.