The Prologue introduces the rationale for this book. It explains the parameters of the research and outlines the research questions to be explored, which are: what are the practical working processes within which live and recorded, onstage and offstage music performances have been produced since the inception of the RSC in 1961? What are the consequences of developments and alterations in these processes for creative teams, performers and audiences? How has the development of sound design and the collaboration of sound and music changed the way music and sound signify in performance? Have the functions of theatre music and sound altered as a consequence? Can the vocal sound of performers be excluded from a discussion of sound and music, and if not, where are the limits of the sound world? It then outlines the methods to be used and the structure of the book.
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