From Handel to Hendrix, The Composer in the Public Sphere Verso, 1999

A study of the composer as a public figure in the light of Habermas's study of the transformation of the public sphere, taking its cue from the German philosopher's remarks about the bourgeois concert audience, the emergence of criticism and the development of autonomous music. Follows the fate of the composer through successive incarnations, from Handel, Bach and Rousseau in the eighteenth century to contrasting examples such as Kurt Weill and Duke Ellington, or John Cage and Pierre Boulez, in the twentieth. Calling on recent work in feminist and gay musicology, the book investigates themes such as subjectivity and identity in Schubert and Chopin alongside questions of the political economy of music and the composer's progressive marginalization from the centre of musical life.  Read a review by Sean Cubitt or this one in the LA Weekly or this one by Alan Rich.
 

Musica Practica: The Social Practice of Western from Gregorian Chant to Postmodernism, Verso, 1996

Verso, 1994The idea of writing a history of music spanning around 1,000 years might seem highly impractical, but Michael Chanan has attempted just that. He is not writing a history of compositional style or even of composers' lives so much as a social history of music, taking in the economic factors which have contributed to the development of music as a profession - how the division of labour has provided us with the standard roles whih we now accept asgiven, and which govern the production, distribution and consumption of music.

"As an extension of the idea of music within society, Chanan also deals at length with the effects of technology on the art, from the invention of printing, through the development of the classical instruments, right up to what he calls 'the age of electro-acoustics'.  One of the real strengths of the book is its refusal to limit itself merely to the consideration of classical music, which thereby allows the reader to understand its specific characteristics more fully."  BBC Music Magazine, March 1995 

"...in many ways, Musica Practica can be seen as a kind of greatly expanded translation of [Attali's] Noise, written this time from the standpoint of a musician... which provides a necessary and detailed supplement to Attali - a very practical venture indeed." The Musical Times, January 1995

Repeated Takes, A Short History of Recording and its effect on Music Verso, 1995

"Until the development of the radio and the gramophone, people only heard music when they played it themselves or when they heard other people playing it. Music was bound by time and space. Now, music is everywhere, streaming through the interstices between the lumpy materials of life, filling the gaps in the continuum of human activity and contact, silting up in vast unchartable archives. In Repeated Takes, Michael Chanan has written a concise history of the technology that has wrought this change and the commercial and creative forces that have shaped it. His account is elegant and impressively well-informed. He ranges across the entire technical field, from Edison's invention of the phonograph in 1877 to the samplers and MIDI technology of the Nineties. He tracks in detail the peristaltic movements of the market, as it ingests and digests each technical innovation and reacts to and directs the whim of the punters and the creativity of musicians. And he has a strong grasp of the way different musical cultures - different 'musics' - from Machaut to Maderna, Tin Pan Alley to dub reggae, have adapted themselves to the revolution they have been caught up in, and been changed by it." Nicholas Spice, London Review of Books, 6.7.9

"Implanted in our awareness to the point of transparency, the mechanical reproduction of sound has increasingly conditioned 20th-century artistic experience, yet has done so in ways we take for granted. Michael Chanan dredges up its story from our collective experience. More than that, in Repeated Takes he draws conclusions and comes up with come pretty credible analyses and explanations. Like Henry Petroski in The Evolution of Useful Things, Chanan dispels the myth that things are invented through the pure force of genius in due season...The final chapters on new technology and its effect on copyright make fascinating reading for anyone connected with the music industry." Nicholas Williams, New Statesman and Society, 7.7.9 

"No strangers to the studio craft of overdubbing and effects, on Kid A/Amnesiac Radiohead finally and utterly abandoned the performance model of rock recording and went fully into concocting sonic fictions using the mixing desk as instrument. Answering a fan's query on Radiohead's Web forum, Greenwood talked about being obsessed with "the whole artifice of recording. I see it like this: a voice into a microphone onto a tape, onto your CD, through your speakers is all as illusory and fake as any synthesizer--it doesn't put Thom in your front room. But one is perceived as 'real', the other somehow 'unreal'... It's the same with guitars versus samplers. It was just freeing to discard the notion of acoustic sounds being truer." Speaking on the phone, Greenwood says the idea was influenced by reading Michael Chanan's 1995 meditation on recording, Repeated Takes. "The more concerts we do, the more dissatisfied we get with trying to reproduce the live sound on a record. In a way it can't be done, and that's a relief really, when you accept that, and recording just becomes a different thing." The Wire, 2001