Relevant bibliographies by topics / Phonograph

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Phonograph'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Phonograph"

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SYMES, COLIN. "From Tomorrow’s Eve to High Fidelity: novel responses to the gramophone in twentieth century literature." Popular Music 24, no. 2 (May 2005): 193–206. http://dx.doi.org/10.1017/s0261143005000462.

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Music and literature have long-standing links. Music has drawn on literature, and vice versa. The advent of the phonograph transformed the condition of music in myriad ways. It made music more accessible and more portable. It also created a new industry of music makers: record producers and engineers, recording artists and record journalists. In this paper I examine the literary responses to the phonograph, and argue that novelists such as Jules Verne, Sinclair Lewis, Bram Stoker and Thomas Mann were among the first to respond to the phonograph, helping to demystify many of the fears that accompanied a machine that was able to preserve sound. I suggest that novelists and short stories, well in advance of phonographic historians and analysts, identified the ways in which records and recordings were incorporated into the day-to-day lives of individuals.
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Dowd, Timothy J. "Culture and commodifictation: technology and structural power in the early US recording industry." International Journal of Sociology and Social Policy 22, no. 1/2/3 (February 1, 2002): 106–40. http://dx.doi.org/10.1108/01443330210789979.

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Draws on Neo‐Weberian theory to argue that commodification is itself a cultural process, whilst not discounting the potentially negative effect of commercialisation. Examines product conception in the early US recording industry citing three disparate periods. Shows that in the late 1870s, recording firms sold and leased phonographs to entrepreneurs for public exhibitions, the the late 1880s firms leased phonographs and graphophones for dictation purpose and in the 1890s, firms exploited the phonograph by offering musical recordings. Concludes that structural power helped shape the product concepts of the industry.
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Insley, Gene L., Duane M. Seaburg, and Daniel S. Pearce. "Phonograph." Journal of the Acoustical Society of America 78, no. 6 (December 1985): 2164–65. http://dx.doi.org/10.1121/1.392585.

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Mašek Benetková, Barbora, Martin Mejzr, Radka Šefců, and Filip Šír. "Průzkum sbírky fonografických válečků Českého muzea hudby." Muzeum Muzejní a vlastivedná práce 57, no. 2 (2021): 59–70. http://dx.doi.org/10.37520/mmvp.2019.014.

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The paper presents the interdisciplinary survey of the phonographic cylinders collection of National Museum – Czech Museum of Music. The text was created for the New Phonograph: Listening to the History of Sound project. The paper focuses on the characterisation of long-term storage of the collection and a common form of degradation – a fair overlay on the cylinder‘s surface. As for dealing with the wide spectrum of samples in the collection, the survey is focused on the most commonly occurring phonographic cylinders and their enclosures. A representative selection of samples was analysed to clarify the character of the degradation products and its origin.
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Deyomas, George G. "Phonograph Buff." Computer Music Journal 11, no. 1 (1987): 14. http://dx.doi.org/10.2307/3680169.

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Smith, Jacob. "Phonograph Toys and Early Sound Cartoons: Towards a History of Visualized Phonography." Animation 7, no. 2 (July 2012): 151–74. http://dx.doi.org/10.1177/1746847712439577.

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DeCristo, Jeramy. "Ma Rainey’s phonograph." Women & Performance: a journal of feminist theory 28, no. 3 (September 2, 2018): 204–20. http://dx.doi.org/10.1080/0740770x.2018.1524620.

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Cadawas, Thomas I. "Phonograph tone suspension." Journal of the Acoustical Society of America 81, no. 4 (April 1987): 1220. http://dx.doi.org/10.1121/1.394596.

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Hodgdon, Barbara. "The Shakespearean Phonograph." Shakespeare Bulletin 35, no. 1 (2017): 1–14. http://dx.doi.org/10.1353/shb.2017.0000.

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Carmen Laurenza. "My Brother’s Phonograph." Italian Canadiana 30 (October 28, 2022): 269–72. http://dx.doi.org/10.33137/ic.v30i.39496.

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Dissertations / Theses on the topic "Phonograph"

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Hella, Vegard. "Digital Audio Restoration : Denoising phonograph recordings." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for elektronikk og telekommunikasjon, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-23521.

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This master's thesis realize an audio noise reduction tool by use of digital signal processing. The tool is used to restore phonograph recordings. The recordings are restored on behalf of Ringve Museum, Norway's national museum of music and musical instruments. Sometimes the noise can be louder than the actual audio. In the view of a museum or library institution, this makes them less valuable as they are not presentable to the general public. A common restoration environment will include multiple tools. We will only specialize in one of them reducing broadband, stationary and additive noise. This is often perceived as static hiss or buzz. To realize the tool we use the numerical computation environment MATLAB. In MATLAB the calculations are written using a high-level programming language with many embedded functions. There are several established algorithms specializing in noise reduction of audio and speech. We will look at some basic and some complex algorithms that are based on the Short Time Fourier Transform (STFT). This technique slices the audio in short time frames to be able to analyze the local complex frequency spectrum. The noise reduction procedure compare the audio spectrum with its estimated noise spectrum to calculate an attenuation at each frequency. The attenuated signal is transformed back into time domain. Some of the algorithms are based on the Wiener filter or AR-modeling. The program will include a user interface with selectable algorithms and parameters. In old recordings a certain level of noise may be wanted to preserve authenticity. Thus a noise floor generator will be implemented.Some necessary theory of digital signal processing will be given, but some general knowledge will be required. The noise reduction theory is presented before the realization and program flow is explained. A listening test will be conducted. Audio examples are used to illustrate the general results, and the development process, results and further work is discussed. The program gave better results than one of the commercial available softwares. Another important result is that the stationary property is a poor approximation. The phonograph noise exhibits periodical properties with longer time periods than used in the short time transform. A model incorporating this feature should be implemented.
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Gauss, Stefan. "Nadel, Rille, Trichter Kulturgeschichte des Phonographen und des Grammophons in Deutschland (1900 - 1940)." Köln Weimar Wien Böhlau, 2007. http://d-nb.info/98881434X/04.

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Janukiewicz, Kristofer. "A Laser Triangulation Approach for Optical Audio Reconstruction of Phonograph Records." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-133207.

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This thesis introduces a method for contact-free optical audio reconstruction of phonograph records using laser triangulation. The reconstruction is done using a 3D-profile camera and by scanning the surface of record in a single circumference. The depth-map created by the camera is then used to decode the audio information stored in the record. To evaluate the quality of the decoded audio information, it is tested against digital copies of the same record in order to analyze the correlation between it and the extracted sound. The result of this thesis presents a decoded and high correlated audio which is recognizable to an original digital copy. The method is well suited for fast real-time or faster than real-time decoding implementations.
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Lai, Catherine Wanwen. "Metadata for phonograph records : facilitating new forms of use and access." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102835.

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This dissertation presents a new metadata design, as part of a large digitization management system being developed, to assist in the consistent creation of digital libraries of phonograph records. The Metadata provides digital libraries with an effective tool for the description, discovery, management, control, delivery, and sharing of digital objects of phonograph record. The metadata design is the outcome of two pilot projects for the digitization of phonograph records that took place at the Marvin Duchow Music Library at McGill University. The new design offers an approach to maintaining and using digital sound and ensures the long-term viability of digital libraries of phonograph records.
The dissertation discusses key areas of preservation and addresses the most common retrieval problems of music in digital libraries. These problems include challenges in the digital context of bibliographic control, cataloging, distribution, and copyright protection. The dissertation revisits traditional cataloging approaches, summarizes historical music cataloging and metadata development, sets up preservation principles and rationales for digitizing phonograph records, and presents state-of-the-art techniques for preserving phonograph records in the digital domain.
The dissertation contains three main parts. The first is an introduction to the new metadata design for phonograph records. The second is a metadata dictionary, which assigns precise syntactic and semantic meanings to metadata elements, to guide digitizers working in libraries, archives, museums, and heritage sectors. These will be followed by two case studies of phonograph record digitization projects using the Metadata and the Data Dictionary. The dissertation concludes by examining three challenges that are critical to future development in both the preserving of and access to phonograph records: the issue of interoperability between different metadata standards, the need for usability and quality evaluation of digitization management systems, and the importance of further development in digital library retrieval services and tools.
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Katz, Mark. "The phonograph effect : the influence of recording on listener, performer, composer : 1900-1940 /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659535m.

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Li, Beinan. "Optical audio reproduction for stereo phonograph records by using white-light interferometry and image processing." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103586.

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This dissertation presents an optical approach for reproducing stereo audio from the stereo disc phonograph records (LPs). Since the late nineteenth century, as one of the most influential recording technologies, the phonograph recording has enjoyed its popularity and produced numerous cylinders and discs that carry speeches, music, and all kinds of audio cultural heritage. The preservation of phonograph sound recordings is thus of world-wide concern. This research provides an alternative approach to digitizing the stereo disc phonograph records, potentially for long-term preservation, by optically acquiring the 3D disc record surface profile and extracting the audio signals from the record surface profile images by using software algorithms. The dissertation discusses the workflow of optically reproducing stereo audio from the stereo disc phonograph records by using the white-light interferometry technique. This workflow includes the acquisition of the 3D disc record surface profile by using a commercial white-light interferometry microscope, the extraction of the record groove undulations, which encodes the stereo audio information, by using our custom image processing algorithms, and finally the reproduction of the stereo audio signal from the groove undulations through signal processing. The workflow is evaluated with a test stereo record containing standard sinusoid signals and a musical record. The quality of the optically-reproduced audio is quantitatively evaluated and compared with that of the audio digitized by a turntable. The dissertation contains three main parts. The first include an introduction to the general background of the optical audio reproduction for the stereo disc phonograph records and the review of the phonograph recording technology, the previous efforts in optically reproducing audio from the cylinder and disc phonograph records, and the relevant optical techniques including the white-light interferometry. The second part focuses on our complete workflow for optically reproducing the stereo audio from the stereo disc phonograph records. This is followed by the evaluation of our workflow and the output audio quality. The dissertation concludes by introducing the challenges and the possible directions in the future development of our optical audio reproduction workflow.
Cette thèse présente une nouvelle approche de reproduction optique d'enregistrements phonographiques stéréo. L'enregistrement phonographique s'est imposé, vers la fin du XIXème siècle, comme la technologie d'enregistrement de référence partout dans le monde. Il existe donc une pléthore de cylindres et autres disques où ont été gravés discours, morceaux de musique, et autres artefacts culturel sonores. La préservation de ces enregistrements sonores phonographiques est donc une préoccupation mondiale. Le présent travail de recherche propose une approche alternative de numérisation des enregistrements phonographiques stéréo en vue de leur éventuelle préservation. En effet, à partir de l'acquisition optique du profil (en trois dimensions) de la surface d'enregistrement du disque, les signaux audio peuvent être reconstruits grâce à nos algorithmes d'analyse d'images. Cette thèse examine les étapes de la reproduction optique audio stéréo à partir d'enregistrements phonographiques sur disques stéréo en utilisant l'interférométrie en lumière blanche. Ces étapes comportent: l'acquisition du profil de la surface d'enregistrement d'un disque 3D en utilisant un microscope commercial interférométrique en lumière blanche ; l'extraction des ondulations du sillon, qui encode l'information audio stéréo en utilisant nos algorithmes de traitement d'images ; et finalement, la reproduction du signal audio stéréo depuis les ondulations du sillon par des techniques de traitement du signal. Le processus complet est évalué sur un enregistrement stéréo test comprenant des signaux sinusoïdaux et un enregistrement musical. La qualité de l'audio reproduit par voie optique est évaluée de façon quantitative et comparée avec celle de l'audio numérisé de manière « traditionnelle », à l'aide d'une platine. Cette thèse s'articule en trois parties. La première comporte une introduction des principes nécessaires à la reproduction d'enregistrements phonographiques stéréo par voie optique. Plus précisément, les principes de la technologie d'enregistrement phonographique sont passés en revue ; l'état de l'art des efforts de reproduction optique des enregistrements phonographiques sur disques et cylindres est présenté ; et enfin, les techniques optiques pertinentes incluant l'interférométrie en lumière blanche sont décrites. La deuxième partie livre une présentation détaillée du processus de reproduction optique que nous avons développé. Dans la troisième partie, l'évaluation quantitative de la qualité de la restitution du signal audio obtenue par notre procédé est aussi décrite. La thèse se conclue sur un bilan des défis et des directions possibles dans le futur développement de notre approche de reproduction des signaux audio par voie optique.
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Chamoux, Henri. "La diffusion de l'enregistrement sonore en France à la Belle Epoque (1893-1914) : artistes, industriels et auditeurs du cylindre et du disque." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010622.

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Le miracle technique de la voix et de la musique enregistrées pour être écoutées dans le cadre domestique, se répandit plus tôt qu’on ne l’a admis jusqu’ici. Produits par dizaines de millions en France avant 1914, les enregistrements phonographiques sur cylindres et disques révèlent aujourd'hui qu’une puissante industrie s’épanouit dès l’aube du XXe siècle en France pour conduire, bien avant la radio, à une forme de banalisation de la musique. Ces phonogrammes sont désormais numérisés, accessibles et audibles en grand nombre. Avec d'autres sources naguère difficiles à exploiter, ils révèlent la richesse du répertoire enregistre et nous restituent une image sonore altérée mais suffisamment fidèle, de la plupart des genres musicaux alors à la mode, notamment les genres vocaux, alors les plus goutes. L'audition commentée des contenus enregistres ouvre de nombreuses portes pour conter l'histoire politique et sociale de leur temps. Cet ouvrage traite par ailleurs des circonstances de la première application du droit d'auteur au disque, ainsi que de l'identité, voire l'authenticité des personnes enregistres, liées aux contraintes techniques de la fabrication et de la reproduction des enregistrements. Sont également prises en considération la réception du phonographe dans divers milieux, ainsi que les pratiques des premiers acteurs de ce marche : artistes qui confièrent leur voix au phonographe, producteurs, auditeurs et autres usagers
The technical miracle of recording voices and music to be listened to within the home developed much earlier than anybody has ever acknowledged. Manufactured in tens of millions in France before 1914, phonographic recordings on cylinders and records reveal today that powerful industries thrived in France very early in the 20th century, thus making music quite commonplace long before the radio ever did. These recordings have now been digitized, and a great many can be accessed and listened to on line. Along with other source materials that not long ago proved hard to exploit, they show how rich the recorded repertoire was. These recordings offer a slightly distorted but sufficiently faithful sound and give us access to most of the music genres fashionable at the time, namely the much appreciated vocal genres. The recorded content of this repertoire with its detailed listening guide gives a new insight into the political and social history of their time. This work also deals with the circumstances in which the first copyright legislation was implemented, the identity and exactness of the recorded artists in connection with the technical constraints in the making and reproduction of recordings. How the phonograph itself was greeted is also examined in detail as well as the habits and routines of the very first players on the market : artists, manufacturers, listeners and other users
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Schereka, Wilton. "Sonic Afrofuturism: Blackness, electronic music production and visions of the future." University of the Western Cape, 2018. http://hdl.handle.net/11394/6548.

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Magister Artium - MA
This thesis is an exploration and analysis of the ways in which we might use varying forms of Black thought, theory, and art to think Blackness anew. For this purpose I work with electronic music from Nigeria and Detroit between 1976 and 1993, as well as with works of science fiction by W.E.B. Du Bois, Samuel Delany, Ralph Ellison, and Octavia Butler. Through a conceptual framework provided by theorists such as Fred Moten and Kodwo Eshun and the philosophical work of Afrofuturists like Delany, Ellison, Butler, and Du Bois, I explore the outer limits of what is possible when doing away with a canon of philosophy that predetermines our thinking of Blackness. This exploration also takes me to the possible depths of what this disavowal of a canon might mean and how we work with sound, the aural, and the sonic in rethinking the figuring of Blackness. This thesis is also be woven together by the theory of the Black Radical Tradition – following Cedric Robinson and Fred Moten specifically. At the centre of this thesis, and radiating outwards, is the assertion that a set of texts developed for a University of the West – Occidental philosophy as I refer to it in the thesis – is wholly insufficient in attempting to become attuned to the possibilities of Blackness. The thesis, finally, is a critique of ethnomusicology and its necessity for a native object, as well as sound studies, which fails to conceptualise any semblance of Black noise.
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Van, Drie Mélissa. "Théâtre et technologies sonores (1870-1910). Une réinvention de la scène, de l'écoute, de la vision." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030175.

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La plupart des études menées sur la dimension scénique du théâtre français et européen pour la période couvrant la fin du XIXe siècle et le début du XXe siècle portent sur la scénographie (espace, décor, éclairage, liens avec la peinture et le nouveau média cinématographique). Si les éléments sonores sont souvent mentionnés et parfois analysés, c’est de façon compartimentée, selon des catégories (voix – déclamation et diction–, musique, bruitage) qui ne sont pas réinterrogées. La dimension acoustique en tant que telle n’est pas problématisée. Or, l’art du théâtre se fonde sur un dispositif où l’écoute importe autant que la vue, la première pouvant l’emportant sur la seconde, et la période étudiée constitue dans l’histoire du son un moment-charnière, avec l’apparition groupée du téléphone, du phonographe et du microphone (1875-1878), les progrès de l’acoustique scientifique et de l’otologie, la transformation des pratiques de l’écoute. Les raisons de l’oubli du sonore sont complexes : la prééminence accordée à la vision dans la pensée occidentale, l’invention de la « mise en scène », la résistance du théâtre aux nouvelles technologies sonores. Nourrie de l’apport des Sound Studies, la thèse remet le son dans le jeu : après avoir dressé un panorama de la pensée et du paysage sonore intermédial à la fin du XIXe siècle (théâtrophone, enregistrements d’acteurs, etc.), elle observe les effets plus profonds du « tournant acoustique » sur l’espace dramatique, sur la figure scénique, sur la vocalité, respectivement étudiés à travers les pratiques de trois poètes-hommes de théâtre : Maeterlinck, Jarry, Charles Cros. Ce sont les bases du théâtre qui ont été interrogées
The majority of studies on scenic dimensions of late 19th - early 20th century French and European theatre center on scenography (space, scenery, lights, relations to painting and new cinematographic media). If certain aspects of sound are mentioned, and sometimes analyzed, the approaches are often compartmentalized into categories including voice (declamation, music, sound effects, which are never themselves questioned). The acoustical dimension is never fully problematized. However, the art of theatre is founded on a schema where listening matters as much as seeing, if not more. In the history of sound, the period on which this study comports constitutes an important turning point, with the invention of the telephone, phonograph, and microphone (1875-1878), progress in the fields of acoustical science and otology, and the transformation of listening practices. The reasons for sound’s oversight are multiple, including the pre-eminence accorded to vision in Occidental thought, the invention of the “mise en scène”, theatre’s resistance to new sound technologies. Nourished by Sound Studies, this dissertation seeks to bring sound back into play. After presenting a panorama of the activities and thought emerging from the intermedial soundscape at the end of the 19th century (théâtrophone, actor’s recordings, etc), it observes the deeper effects of these acoustical phonomena on dramatic space, the scenic figure, and vocality through respective studies of three poets-theatre creators: Maurice Maeterlinck, Alfred Jarry and Charles Cros. The very bases of theatre are interrogated
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Allen, Edward Joseph Frank. "Lyric technologies : the sound media of American modernist poetry." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708318.

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Books on the topic "Phonograph"

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Hazelcorn, Howard. Columbia phonograph companion. 2nd ed. Los Angeles, CA: Mulholland Press, 1999.

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Hazelcorn, Howard. Columbia phonograph companion. Los Angeles: Mulholland Press, 1996.

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Steffens, Bradley. Phonograph: Sound on disk. San Diego, CA: Lucent Books, 1992.

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Tunisia. Wizārat al-Thaqāfah wa-al-Muḥāfaẓah ʻalá al-Turāth. Markaz al-Mūsīqá al-ʻArabīyah wa-al-Mutawassiṭīyah. Ḥikāyāt ʻan al-ḥākī: Dalīl maʻriḍ ajhizat al-istimāʻ ilá al-tasjīlāt al-mūsīqīyah al-rāʼijah bi-Tūnis min maṭlaʻ al-qarn al-ʻishrīn ilá al-sittīnāt : al-majmūʻah al-khāṣṣah bi-al-Ḥabīb Bī Gharārah. [Tunis]: Wizārat al-Thaqāfah wa-al-Muḥāfaẓah ʻalá al-Turāth, Markaz al-Mūsīqá al-ʻArabīyah wa-al-Mutawassiṭīyah, 2006.

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Field, Mike. Restoring the Edison Gem phonograph. Rugby, UK: City of London Phonograph and Gramophone Society, 1986.

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Smith, Jacob. Spoken word: Postwar American phonograph cultures. Berkeley: University of California Press, 2011.

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Seiter, Bessie Wager. Phonograph dolls that talk and sing. United States?]: F. Seiter, 2001.

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Fabrizio, Timothy C. Antique phonograph: Gadgets, gizmos, and gimmicks. Atglen, PA: Schiffer Pub., 1999.

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Andrews, Frank. The Edison phonograph: The British connection. England: City of London Phonograph and Gramophone Society, 1986.

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Wadey, T. C. Edison's European phonograph business: a business history of the National Phonograph Company Limited 1902 - 1912. Oxford: Oxford Brookes University, 1998.

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Book chapters on the topic "Phonograph"

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Feaster, Patrick. "Phonograph." In Handbuch Sound, 348–52. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05421-0_64.

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Kontou, Tatiana, Victoria Mills, and Richard Menke. "Phonograph." In Victorian Material Culture, 291–312. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-68.

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Schreier, Wolfgang, and Hella Schreier. "Phonograph kontra Grammophon." In Thomas Alva Edison, 81–89. Wiesbaden: Vieweg+Teubner Verlag, 1987. http://dx.doi.org/10.1007/978-3-322-84407-1_10.

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Lipton, Lenny. "Synchronizing the Phonograph." In The Cinema in Flux, 229–42. New York, NY: Springer US, 2021. http://dx.doi.org/10.1007/978-1-0716-0951-4_26.

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Kontou, Tatiana, Victoria Mills, and Richard Menke. "‘The New Phonograph’." In Victorian Material Culture, 303–5. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-70.

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Kontou, Tatiana, Victoria Mills, and Richard Menke. "‘Mr. Edison's Phonograph’." In Victorian Material Culture, 306–9. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-71.

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Launay, Françoise. "Janssen and Edison’s Phonograph." In The Astronomer Jules Janssen, 137–42. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4614-0697-6_11.

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Wills, Ian. "Inventive Success: The Phonograph." In Studies in History and Philosophy of Science, 105–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29940-8_7.

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Agugliaro, Siel. "The phonograph and transnational identity." In Phonographic Encounters, 222–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003006497-16.

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Sterne, Jonathan. "The Making of the Phonograph." In Communication in History, 153–57. 8th ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003250463-25.

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Conference papers on the topic "Phonograph"

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Lai, Catherine, Ichiro Fujinaga, and Cynthia A. Leive. "Metadata for phonograph records." In the 5th ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1065385.1065488.

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2

McNeese, Andrew, Jason D. Sagers, Richard D. Lenhart, and Preston S. Wilson. "A homemade Edison tinfoil phonograph." In 161st Meeting Acoustical Society of America. Acoustical Society of America, 2011. http://dx.doi.org/10.1121/1.3646249.

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3

Popovschi, Liliana. "The Chisinau „Phonogram Archive of Dialectal Speech” in General Romanian and European Context." In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.05.

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In dialectology, the phonogram archive represents a corpus of dialectal texts recorded with the aid of technical means (phonograph, gramophone, pathephone, tape recorder, etc.) and stored on various media such as tapes or discs. It is a way of presenting and preserving dialectal facts. From 1899, sound archives were created in Vienna, Zürich, Paris, Bucharest. The Chisinau „Phonogram Archive of Dialectal Speech” was made up between 1957 and 1965, during the „Moldavian Linguistic Atlas” survey. The archive’s collection, including dialectal speech samples recorded in Romanian-speaking communities of the Republic of Moldova, Ukraine, the Russian Federation, Georgia, Kazakhstan, Kyrgyzstan, contributes to complete the image of the Romanian language, considered under the aspect of its diatopic, as well as diastratic or diaphasic variation, but it can also be used as a documentary source for the research of many other problems of linguistics, ethnography, folkloristics, history, etc. These sound documents are elements of Romanian and European cultural heritage that need to be protected, exploited and highly valued.
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4

Cederstroem, Bjoern, Robert N. Cahn, Mats Danielsson, Mats Lundqvist, and David R. Nygren. "Refractive x-ray focusing with modified phonograph records." In SPIE's International Symposium on Optical Science, Engineering, and Instrumentation, edited by Carolyn A. MacDonald, Kenneth A. Goldberg, Juan R. Maldonado, Huaiyu H. Chen-Mayer, and Stephen P. Vernon. SPIE, 1999. http://dx.doi.org/10.1117/12.371105.

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5

Lai, Catherine, Ichiro Fujinaga, and Cynthia A. Leive. "The challenges in developing digital collections of phonograph records." In the 5th ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1065385.1065460.

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6

Pokrajac, David D., Saša Spasojević, and Nikola P. Zekić. "Data Science for Quantitative Research of Phonograph Records Radio Broadcasting." In 2023 16th International Conference on Advanced Technologies, Systems and Services in Telecommunications (TELSIKS). IEEE, 2023. http://dx.doi.org/10.1109/telsiks57806.2023.10316111.

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7

Shanoylo, Semen M., Igor V. Kosyak, Vyacheslav Petrov, and Andrey A. Kryuchin. "Reading and processing of audio information reproduced from Edison phonograph cylinders by method of laser interferometry." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445662.

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8

ARBO, Alessandro. "The Identity of Musical Works in the Web Era." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0001.

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What is and, more precisely, what does a musical work consist of? In what sense can it coincide with a score or with a performance? How can its identity persist over historical time? Introduced by Polish philosopher Roman Ingarden in the 1920s, these questions have become recurrent in the analytically oriented philosophy of music. To this day, it does not seem easy to find an answer in a framework become more complex because of the generalization of phonographic and video-phonographic recording systems – and of that great recording system that is the Web. This article wonders how it could be appropriate to relaunch this question, focusing on its meaning and theoretical scope from a perspective considering the multiplicity of devices that populate the contemporary musical world.
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9

Mach, Vaclav. "Denoising phonogram cylinders recordings using Structured Sparsity." In 2015 7th International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT). IEEE, 2015. http://dx.doi.org/10.1109/icumt.2015.7382449.

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10

Veronis, J. "Correction of phonographic errors in natural language interfaces." In the 11th annual international ACM SIGIR conference. New York, New York, USA: ACM Press, 1988. http://dx.doi.org/10.1145/62437.62443.

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