ABSTRACT

While this article makes explicit connections with forms such as karaoke, it also offers insight into other areas of sonic instruction such as dance, exercise and gaming. More important, it begins to develop an explicit theoretical foothold on questions of record production and reception where the listener is conceived in both the form of the recording and its accompanying narratives by focusing on how many of these instructional objects are designed around specific questions of record production and their accompanying paratextual elements.

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