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Further Reading:

The notion of phonographic staging was developed by Will Moylan and expanded upon by Serge Lacasse. However it is very closely related to Allan Moore's work on the Sound Box and Trevor Wishart's writing on Landscapes.

Lacasse, S., 2000. Listen To My Voice: The Evocative Power Of Vocal Staging In Recorded Rock Music And Other Forms Of Vocal Expression. PhD. University of Liverpool. Available at: http://www.mus.ulaval.ca/lacasse/texts/THESIS.pdf [Accessed June 30, 2011].

Lacasse, S., 2005. Persona, Emotions And Technology: The Phonographic Staging Of The Popular Music Voice. In Art of Record Production Conference. London. Available at: http://www.artofrecordproduction.com/content/view/143/ [Accessed June 30, 2011].

Moore, A.F., 1992. Rock: The Primary Text : Developing a Musicology of Rock (Ashgate Popular and Folk Music Series) 2nd ed., Ashgate Pub Ltd.

Moore, A.F., 2012. Song Means: Analysing and Interpreting Recorded Popular Song, Farnham: Ashgate Pub Ltd.

Moylan, W., 1992. The Art of Recording: Understanding and Crafting the Mix, Focal Press.

Wishart, T., 1986. Sound Symbols And Landscape. In S. Emmerson, ed. The Language of Electroacoustic Music. London: Macmillan, pp. 41–60.

Zagorski-Thomas, S., 2015. An Analysis of Space, Gesture and Interaction in Kings of Leon’s “Sex On Fire” (2008). In R. von Appen et al., eds. Twenty-First-Century Pop Music Analyses: Methods, Models, Debates. Farnham: Ashgate Publishing Limited.

Zagorski-Thomas, S., 2012. Musical Meaning and the Musicology of Record Production. Beitraege zur Popularmusikforschung, 38.

Zagorski-Thomas, S., 2010. The Stadium In Your Bedroom: Functional staging, authenticity and the audience led aesthetic in record production. Popular Music, 29(2).