Book contents
- Sound and Literature
- Cambridge Critical Concepts
- Sound and Literature
- Copyright page
- Epigraph
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- Part I Origins
- Part II Development
- Part III Applications
- Chapter 10 What We Talk about When We Talk about Talking Books
- Chapter 11 Prose Sense and Its Soundings
- Chapter 12 Dissonant Prosody
- Chapter 13 Deafness and Sound
- Chapter 14 Vibrations
- Chapter 15 Feminism and Sound
- Chapter 16 Wireless Imaginations
- Chapter 17 Attending to Theatre Sound Studies and Complicité’s The Encounter
- Chapter 18 Bob Dylan and Sound: A Tale of the Recording Era
- Bibliography
- Index
Chapter 18 - Bob Dylan and Sound: A Tale of the Recording Era
from Part III - Applications
Published online by Cambridge University Press: 29 May 2020
- Sound and Literature
- Cambridge Critical Concepts
- Sound and Literature
- Copyright page
- Epigraph
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- Part I Origins
- Part II Development
- Part III Applications
- Chapter 10 What We Talk about When We Talk about Talking Books
- Chapter 11 Prose Sense and Its Soundings
- Chapter 12 Dissonant Prosody
- Chapter 13 Deafness and Sound
- Chapter 14 Vibrations
- Chapter 15 Feminism and Sound
- Chapter 16 Wireless Imaginations
- Chapter 17 Attending to Theatre Sound Studies and Complicité’s The Encounter
- Chapter 18 Bob Dylan and Sound: A Tale of the Recording Era
- Bibliography
- Index
Summary
My essay examines Bob Dylan’s relation to sound recording, still a neglected topic even with the recent explosion of scholarship on the legendary singer-songwriter. Drawing on historical accounts of Dylan and his career, as well as recent histories of studio recording, I trace the artist’s mercurial relation to record making as evidenced in his turbulent encounters with various record producers. My chief focus is on Dylan’s account of his late 1980s creative crisis in his 2004 memoir Chronicles: Volume 1, which I argue also provides a condensed account of the songwriter’s philosophy of sound recording.
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- Sound and Literature , pp. 372 - 388Publisher: Cambridge University PressPrint publication year: 2020
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