ABSTRACT
This conclusion presents some closing thoughts on concepts covered in the preceding chapters of this book. The book focuses on the development of JPM through the work of audio engineers and musicians; it raises a number of questions regarding the post-1950 popular music canon. In the case of JPM, the audio engineer's influence is relatively easy to detect given the fact that many Jamaican producers limit their activities to executive duties. In the context of JPM, the findings of this study suggest that musical performance and sound creation often function in a symbiotic relationship, but this phenomenon is in no way limited to Jamaican recording studios. During this critical period of the late 1950s and early 1960s, Kingstonians enjoyed a rich and unique sounds cape, dominated during the day by the Rediffusion system and at night by the low-frequency rumble of multiple sound systems playing American popular music as well as a growing and eagerly anticipated range of local music products.
