ABSTRACT
I have titled this chapter ‘Recording Out-takes’ because I will examine only those short segments of magnetic tape that concern aspects usually considered marginal in sound documentation. In so doing, I have largely ignored the musical works themselves in order to concentrate on what precedes the musical performance and might actually accompany it, before and afterwards. I will consider what is usually abandoned, destroyed, or simply eliminated, when it passes from the recording in the field to the studio, analysis, publication, and to the critical edition of the sound documentation.
