Journal articles on the topic 'Phonograph collections'
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1
KASPARIS, TAKIS, and JOHN LANE. "DIGITAL RESTORATION OF DAMAGED PHONOGRAPH RECORDS." Journal of Circuits, Systems and Computers 04, no. 01 (March 1994): 109–15. http://dx.doi.org/10.1142/s0218126694000089.
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A method for digital restoration of phonograph recordings contaminated by impulsive noise is proposed. Impulses are suppressed by applying median filtering on contaminated signal regions only, thus minimizing distortion of clean passages and loss of high musical frequencies. The algorithm can be implemented on a personal computer equipped with any inexpensive sound board, and thus it can be used for the restoration of damaged records in home collections. In experiments with old recordings the improvement in sound quality was dramatic. The restored audio signal can be archived in digital form on regular computer back-up tapes or on digital audio tapes, or it can be played through the sound board and stored onto an analog recording media such as high-quality cassette tapes.
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Benetková, Barbora Mašek, Petra Korandová, Kristýna Boumová, Hana Sýkorová, Jana Kadavá, Michal Studničný, Radka Šefců, Martin Mejzr, and Filip Šír. "Degradation marks of phonograph cylinders from Tesař’s opera collection." Koroze a ochrana materialu 66, no. 1 (January 1, 2022): 150–59. http://dx.doi.org/10.2478/kom-2022-0020.
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Abstract Phonograph cylinders are the oldest commercially available recording media and are an valuable part of cultural institutions’ collections. Even though they are an essential part of sound history, they have long been overlooked as a relatively chemically stable media. The only degradation mentioned in the literature was a whitish cover, traditionally appointed to microbiological growth. In our study, we focused on unravelling the issue of these degradation products. A selected collection from the National Museum – Czech Museum of Music was subjected to microbiological and analytical examination via digital microscopy, FTIR spectroscopy, colourimetry and SEM-EDS analysis. From the results, some of the degradation pathways were proposed. The results also help us to focus future research and suppress the degradation so that the cylinders stay longer in conditions fit for digitisation and overall archivation.
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Li, Beinan, Catherine Lai, and Ichiro Fujinaga. "Technical Issues in Digitization of Large Online Collections of Phonograph Records." Archiving Conference 3, no. 1 (January 1, 2006): 151–55. http://dx.doi.org/10.2352/issn.2168-3204.2006.3.1.art00035.
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MOREDA RODRÍGUEZ, EVA. "Amateur Recording on the Phonograph in Fin-de-siècle Barcelona: Practices, Repertoires and Performers in the Regordosa-Turull Wax Cylinder Collection." Journal of the Royal Musical Association 145, no. 2 (November 2020): 385–415. http://dx.doi.org/10.1017/rma.2020.17.
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AbstractThe Regordosa-Turull wax cylinder collection, held at the Biblioteca de Catalunya, Barcelona, is unique among early recording collections. It contains 358 cylinders recorded by the textile industrialist Ruperto Regordosa, mostly at his Barcelona home, featuring prominent Spanish and non-Spanish singers of opera and zarzuela, as well as the composer Isaac Albéniz. This article aims to establish the significance of the collection for the study both of the amateur recording culture that existed alongside commercial phonograph recordings and of performance practices in opera and zarzuela. By examining the broader characteristics of the collection and textual sources from the period, and by closely analysing some of the cylinders, this article explores how Regordosa adopted (and in some cases adapted) certain generic conventions employed in commercial recordings of the time, and what the implications of this are when considering these early recordings as documents of performance practice.
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Žarskienė, Ruta. "Folklore Activities of the Lithuanian Science Society: Utopian Goals or Insightful Ideas?" Folklore: Electronic Journal of Folklore 91 (December 2023): 95–110. http://dx.doi.org/10.7592/fejf2023.91.zharskiene.
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This article deals with two activities of the Lithuanian Science Society (LSS, 1907–1938) and the history of the folklore collections it accumulated. Its members encouraged people to record folk songs, fairytales, stories, riddles, and other forms of folklore, and they tried to gather in one place all the older manuscripts that contained folklore. This way, the LSS’s folklore archive was formed at the beginning of the twentieth century. In 1908, Eduard Wolter, a member of the LSS, made the first folklore sound recordings with a phonograph apparatus. The chair of the Society, Jonas Basanavičius, knew about the Phonogram Archives of Vienna and Berlin; therefore, he encouraged the establishment of such an archive in Vilnius. Another idea of the LSS, initiated by Mykolas Biržiška, was to gather all the songs in one place and to publish a national songbook. Unfortunately, these goals were visionary and utopian for this period of cultural development in Lithuania. In this study, the birth of these ideas and the path to their realisation are chronologically reviewed. The author discusses the reasons why they were not accomplished in the first part of the twentieth century, and gives explanations for why they were successfully implemented in the second part of the twentieth – beginning of the twenty-first centuries. The historical-political context as well as the actual digitisation of intangible heritage archives help clarify the process.
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Dzlieva, Dzerassa Mairamovna. "Historiography of the study of mytho-religious songs of Ossetians before the 1930s." PHILHARMONICA. International Music Journal, no. 2 (February 2023): 41–50. http://dx.doi.org/10.7256/2453-613x.2023.2.40563.
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The subject of the study is the historiography of the study of Ossetian song folklore. The object of the study is mytho-religious songs. The purpose of the article is to systematize information sources reflecting the history of the development of research interest in the song folklore of Ossetians, paying special attention to mytho-religious songs. With the help of source research methods, handwritten collections, music collections, notes of individual samples in music publications, descriptions of audio recordings, research works were identified. This article discusses issues related to the activities of various collectors of Ossetian musical folklore. The author traces the stages of the formation of scientific thought, and the development of collecting activities. The most significant works are highlighted, including samples of mytho-religious songs of Ossetians. The main conclusions of the study relate to observations on the activities deployed in the 1920s - 1930s and related to various collectors. The analyzed data indicate an undoubted interest in the Ossetian song tradition. Thanks to folklore and ethnographic expeditions of the 1920s, an impressive set of materials of Ossetian song folklore was collected, but it is worth noting the careless attitude of collectors to the poetic text. Quite often it is presented in a distorted version, in the volume of one stanza, and sometimes it is completely absent. The breakthrough in collecting detail was the appearance of the phonograph. Phonographic recordings made in the 1930s. they still make up the main body of materials on the folk musical culture of Ossetians. A special contribution of the author to the study of the topic is the systematization of information sources on mytho-religious songs, which determines the scientific novelty of this research work.
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Večerníková, Lucie, Filip Šír, and Tomáš Slavický. "Eduard Jedlička: Americký sen zlatníka z Moravy." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 40–49. http://dx.doi.org/10.37520/mmvp.2022.005.
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In the collections of the earliest phonograph cylinders held by American memory institutions, a remarkable set of recordings with Czech content can be found under the title of Jedlička Records, derived from the name of Eduard Jedlička (1867–1944), a Czech immigrant to the US. The authors of the study present for the first time the story of the Moravian native who left his homeland in 1895 to pursue his American dream. Jedlička Records represent a valuable example of Czech (mostly traditional folk) songs popular among the Czech minority in the early 20th century. They also represent a significant contribution to the sound cultural heritage of the Czech community in the US and to the history of the recording and distribution industry.
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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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Forbes, Anne-Marie. "Notions of the Universal and Spiritual in Percy Grainger’s Early British Folk-Song Settings." Nineteenth-Century Music Review 16, no. 01 (June 8, 2018): 43–62. http://dx.doi.org/10.1017/s1479409817000581.
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Between 1905 and 1908 Percy Grainger made a major contribution to the corpus of British folk-song, collecting melodies and words of ballads, shanties and work songs, and devoting himself not just to the faithful capture of pitch and rhythm, but also the nuances of performance, with his pioneering use of the phonograph. These folk-songs became for Grainger a wellspring of compositional inspiration to which he returned time and time again. Yet while he was still a student in Frankfurt, Grainger had been making settings of British traditional tunes sourced from published collections. This article contends that these early arrangements hold the key to a deeper understanding of his later persistence in folk-song arranging and collecting, and that they prefigure the recurrent textual themes in the songs he later chose to arrange. It is argued that Grainger’s attraction to folk-song was textual and musical, tied to notions of purity, freedom and an unorthodox spirituality inspired by nature and shaped by the writings of Whitman, whereby Grainger perceived folk-song as a universal utterance. For Grainger, British folk-song was not simply a source of profound melody for appropriation; the window into a nation’s soul became a door into the souls of all humanity.
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Kolomyyets, Olha. "„ПАМ’ЯТЬ СВІТУ”: ЗАПИСИ ПРУССЬКОЇ ФОНОГРАФІЧНОЇ КОМІСІЇ ВІД ВІЙСЬКОВОПОЛОНЕНИХ УКРАЇНЦІВ У НІМЕЦЬКИХ ТАБОРАХ ПЕРШОЇ СВІТОВОЇ ВІЙНИ З ФОНДІВ БЕРЛІНСЬКОГО ФОНОГРАМАРХІВУ (ФАКТОГРАФІЧНІ АСПЕКТИ)." Ethnomusic 19, no. 1 (December 2023): 112–42. http://dx.doi.org/10.33398/2523-4846-2023-19-1-112-142.
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The article highlights for the first time the material connected to the sound recordings of Ukrainians from WWI Prisoner-of War Camps in Germany, that were made during 1915-1918 years by the members of the Prussian Phonographic Commission which included Carl Stumpf (the head of the Commission), Georg Schünemann, Wilhelm Doegen among others. This article is a result of the author’s personal research conducted at the Berlin Phonogram Archive and explores the factographic documents that include the data about the sound recordings themselves, the history and process of the creation of the documents and their digital versions made a 100 years after the Prussian Phonographic Commission’s project has started. The research also presents the first results of the analysis of the repertoire recorded from Ukrainian prisoners-of WWI, specifically its culture and genre characteristics.
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Утегалиева, Сауле Исхаковна. "About the first phonorecords of the music of the Turkic peoples in the Turkestan collection of Richard Karutz in 1905." Музыкальное искусство Евразии. Традиции и современность, no. 2(3) (June 26, 2021): 19–26. http://dx.doi.org/10.26176/maetam.2021.3.2.003.
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В статье впервые рассматриваются фонозаписи музыки тюркских народов, собранные немецким ученым Р. Карутцем в Туркестане (Казалинск и Ташкент) в 1905 г. 16 фонограмм, сохранившихся на восковых валиках в Берлинском фонограмм- архиве, включают 8 казахских, 6 татарских и 2 сартских образца песен и наигрышей. Дана их характеристика, приводятся результаты работы по реставрации и идентификации нотных записей The phonograms of Turkic peoples music collected by the German scientist R.Karutz in Turkestan (Kazalinsk and Tashkent) in 1905 has investigated in this article for the first time. 16 phonograms preserved on wax cylinders in the Berlin phonogram-archive, including 8 Kazakh, 6 Tatar and 2 Sart samples of songs and instrumental pieces. Their characteristics and results of work on the restoration and identification of musical notations are given
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Shevchuk, Tetiana. "Folklore of Ukrainian Prisoners of War of the Period of the First World War (After the Materials of the Phonogram Archives of the Austrian Academy of Sciences)." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 100–111. http://dx.doi.org/10.15407/slavicworld2022.21.100.
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The article is devoted to the peculiarities of a large-scale anthropological project initiated in 1915 by the Austrian Academy of Sciences. It is provided, in particular, for the phonographic fixation of the examples of spoken language of war prisoners of various nationalities who fought on the side of the Russian Empire: Armenians, Jews, Latvians, Lithuanians, Russians, Ukrainians, Georgians, etc. These audio recordings, kept in the Phonogram Archives of the Austrian Academy of Sciences for more than a century, have been introduced into scientific discourse in 2018. They are encrypted and transcribed into Latin. There are the examples of folklore culture of the Ukrainians provided by 17 informants from 8 governorates of the Russian Empire of that time: Chernihiv, Kyiv, Kharkiv, Poltava, Kherson, Katerynoslav, Volyn and Voronezh. Among the list of inhabited areas, where the Ukrainian informants are originated from, we come across the infamous names of the present-day Russian-Ukrainian war: Olenivka, Bakhmut (Donetsk region), Kupiansk (Kharkiv region). Recordings have been made during July–September, 1915 and in 1916 in the war prisoners’ camps in Freistadt (Austria), Reichenberg (now Liberec, the Czech Republic) and in the Vienna hospital. They have been initiated by the famous anthropologist Rudolf Pöch (1870–1921), a native of Ternopil. He has been assisted by the Vienna language expert Hans Pollak (1885–1976) and the Ukrainian linguist and folklore specialist Ivan Pankevych (1887–1958), a graduate of the University of Vienna. Using the phonograph, these researchers have recorded the folk texts of different genres: the Cossack prayers, songs of literary origin, fairy tales (about animals and of novelistic nature), jokes, stories about the summer cycle calendar customs (in particular, about the women ritual dinner called bryksy) and dreams. The characteristic feature of these texts consists of the transformation of the song-like narrative into a prose; they are a valuable field material not only for the folklore specialists, but also for historians and linguists. Audio-recordings, provided by the Ukrainian war prisoners, form a part of 1899–1950s collection of the Phonogram Archives of the Austrian Academy of Sciences and are included into the UNESCO Register of Documentary Heritage Memory of the World / Memory of Humanity.
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Bakhmatova, M. N. "Центральный институт аудио- и видео наследия Италии: прошлое и настоящее THE CENTRAL INSTITUTE FOR SOUND AND AUDIOVISUAL HERITAGE OF ITALY: THE PAST AND PRESENT." Вестник антропологии (Herald of Anthropology), no. 2022 №2 (June 7, 2022): 310–19. http://dx.doi.org/10.33876/2311-0546/2022-2/310-319.
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В статье рассказывается об истории основания Центрального института аудио- и видео наследия Италии и об эвристических возможностях хранимых в нем источников. Институт берет свое начало из частной коллекции звукозаписей «Голоса великих», переданной в 1927 г. государству. Так как первые фонды состояли преимущественно из аудиоматериалов на граммофонных пластинках, ему было присвоено название «Государственной дискотеки». Благодаря усилиям первого директора фонды стали пополняться и видеоматериалами. Кроме того, Дискотека стала превращаться из хранилища преимущественно пропагандистских материалов в научное заведение по сбору и хранению аудио- и визуальных источников. Благополучно пережив эпоху фашизма, Институт стал крупнейшим центром, в который стекаются материалы таких знаковых музыкальных фестивалей, как «Сан Ремо», богатейшие частные коллекции по итальянскому фольклору, хранятся вещественные источники по истории звукозаписывающих устройств, а также обязательные экземпляры аудио- и видео документов, произведенных в Италии. Кроме того, здесь находится единая точка Доступа к Архиву Визуальной истории Государственного архива, где опубликованы интервью с итальянскими жертвами Холокоста, а также к базе данных Фонда Шоа Стивена Спилберга. Фонды Института представляют значительный интерес для историков, этнологов и антропологов. The paper is dedicated to the history of the creation of the Central Institute for Sound and Audiovisual Heritage of Italy and the exploration of the heuristic possibilities offered by its storage. The foundation of the Institute stems from the legacy of the private collection of audio recordings “The Words of the Greatest”, donated in 1927 to the Italian State. The first name of the Institute was “State Records”, since the first archive mostly consisted of audio recordings on phonograph records. Thanks to the efforts of its first Director, video recordings were added to the collection. Moreover, the archive began to evolve from a deposit of mainly propaganda recordings to a scientific institution for the collection and conservation of audio and video sources. Having successfully survived the Fascist Era, the Institute became the largest center for the collection of recordings coming from different sources, such as the renowned Sanremo music festival, rich private collections of Italian folklore, artifacts from the history of recording instruments, as well as the mandatory copies of all audio and video documents produced in Italy. In addition, the Institute stores the unique access point to the Archives for Visual History of the state archives, which include interviews with the Italian victims of the Holocaust, as well as the databases of the Steven Spielberg Shoah Foundation. The sources of the Institute can be of considerable interest to historians, ethnologists, and anthropologists.
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Berdan, Jean M. "Mechanical extraction of microfossils." Paleontological Society Special Publications 4 (1989): 99–100. http://dx.doi.org/10.1017/s2475262200005037.
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The described techniques for extraction of microfossils are directed primarily at the extraction of calcareous microfossils from various types of limestone, although the same techniques may beused for some sandstones and shales. The equipment needed is not complicated; the most obvious is a good binocular microscope with a working distance of three or more inches, to allow manipulation of the rock from which the specimens are to be extracted. The magnification required depends on the size of the specimens, but should go up to at least 80x. Other essential tools are a pin vise with a chuck which will hold an ordinary steel sewing needle and a rotary dental machine or other grinding device which will accept a small thin carborundum wheel. The latter is useful for sharpening needles as well as for cutting specimens out of the rock. An additional useful item is a percussive device such as a mechanical engraver fitted with a chuck which will hold an old fashioned steel phonograph needle. This instrument is described in detail by Palmer (this volume, chapter 20). A dish of water and a fine (00000) camel's hairbrush are necessary to move the specimens, once freed, to a slide or other receptacle. A rock trimmer is useful for reducing large blocks of fossiliferous rock into pieces that can be handled under the microscope, although with some collections this can be done with a hammer and cold chisel. Some paleontologists prefer to crush their samples and then pick through the chips to find specimens; however, this technique tends to break spines and frills from highly ornamented forms and is not recommended unless the microfauna is known to consist mostly of smooth species. Most of the equipment mentioned above can be found in catalogs such as that of the Edmund Scientific Co., 101 E. Gloucester Pike, Barrington, N.J. 08007.
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Гиппиус, Е. В., and С. В. Подрезова. "Field Diary of the Zaonezhye Expedition and Letter to Sergey I. Bernstein." OPERA MUSICOLOGICA 16/2, no. 2024 (June 26, 2024): 242–67. http://dx.doi.org/10.26156/operamus.2024.16.2.013.
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Впервые публикуются документы, отразившие историю появления двух ранних коллекций звукозаписей, хранящихся в Фонограммархиве Института русской литературы (Пушкинского Дома) РАН (ИРЛИ): №1 (экспедиция ГИИИ в Заонежье, 1926 г.) и №38 (экспедиция Ленинградской консерватории в Узбекистан, 1928 г.). Публикуемые источники имеют большую научную и документальную ценность как свидетельство становления отечественного этномузыкознания и начала полевой звукозаписи Государственного института истории искусств (ГИИИ) и Ленинградской государственной консерватории (ЛГК). В полевом дневнике, который Гиппиус вел в своей первой фольклорной экспедиции в Заонежье в 1926 г., фиксировались основные события и встречи, отражались некоторые бытовые детали и технические характеристики записи. Во второй части дневника сохранилась первоначальная опись фоноваликов, благодаря которой можно судить об утраченных образцах (из 67 фоноваликов до нашего времени дошло лишь 41). Сопоставление данных дневника Е. В. Гиппиуса с уже известными документами позволит более точно атрибутировать фонографические и слуховые записи. Письмо Гиппиуса к заведующему Центральным Фонограммархивом ГИИИ — лингвисту С. И. Бернштейну содержит новые сведения об особенностях организации полевой и кабинетной работы фольклористов ГИИИ и ЛГК и о степени участия в ней Е. В. Гиппиуса. The article presents documents that reflect the history of the appearance of two early collections of the Pushkin House Phonogram Archive: collection No. 1 (expedition of the State Institute of Art History in Zaonezhye, 1926) and collection No. 38 (expedition of the Leningrad Conservatory to Uzbekistan, 1928): field diary of Eugene W. Hippius, “Program of phonographic recordings made in the Zaonezhye expedition”, which the young scientist kept on his first folklore expedition, and which was demonstrated at a meeting of the Department of Music Theory and History Council (September 20, 1926); and a letter from Eugene W. Hippius to the head of the Central Phonogram Archive of the State Institute of Art History — linguist Sergei I. Bernstein. The published sources have great scientific and documentary value as evidence of the early period of Russian ethnomusicology and the beginning of field work at the State Institute of Art History and the Leningrad Conservatory. Comparison of the data from the diary of Eugene W. Hippius with field notes of the participants of the Zaonezhye expedition will make it possible to more accurately attribute phonographic and auditory recordings. Hippius’s letter to Bernstein contains unique information about peculiarities of organization of field and cabinet work of folklorists of the State Institute of Art and Culture and the Leningrad Conservatory and the degree of participation of Eugene W. Hippius therein.
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Lajic-Mihajlovic, Danka. "Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA." Muzikologija, no. 23 (2017): 239–58. http://dx.doi.org/10.2298/muz1723237l.
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Phonographic recordings made on wax plates by composer Kosta P. Manojlovic and ethnologist Borivoje Drobnjakovic from 1930 to 1932 represent the oldest collection of field sound recordings in Serbia. The biggest part of the collection is preserved at the Institute of Musicology SASA. In 2017 digitalization of the recordings from those plates was completed, which made the sound content of the collection finally available to researchers. This paper presents and analyses the collection as an anthology of historical sound documents, as an incentive for contemporary ethnomusicological research and as an addition to studying the history of ethnomusicology in Serbia. After an elaboration on the prehistory of documentary field recordings of traditional music, it has been pointed to procurement of a phonograph for the Ethnographic Museum in Belgrade in 1930. There were two major expeditions, organized in 1931 and 1932 in what was then known as ?Southern Serbia?, administratively the Vardar Banovina, a province of the Kingdom of Yugoslavia (now Republic of Macedonia and the Autonomous Province of Kosovo and Metohija of the Republic of Serbia). 180 plates were made, less than a third by Drobnjakovic, and all the others by Manojlovic. Further recordings were suspended due to certain problems with masters printing; even some later attempts of dubbing did not give a complete solution. In 1964 the Institute of Musicology SASA was given an incomplete collection. Today it is comprised of 140 wax plates. It has been pointed that, primarily, traditional secular music was recorded, followed by few examples of church music. The collection is represented by the acoustic source, performance formation, repertoire, genre, style. Additionally, gender, age and professions of the singers and players were also discussed. It has been pointed to the potentials of the collection and its relevancy for the research of music and identity relation, music and migration relation, for studies of heritage and activities at the field of preserving traditional music. Given the specificity of the area from which the collection predominantly originates, it can have a significant value for social engagement in overcoming conflicts with music. Finally, the attainability of wax plates now serves as an incentive for reassessing the role of Kosta P. Manojlovic in cultural history and research of traditional music in Serbia and in the region.
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Baalbaki, Ioana. "From ethnomusicologist to composer. Sándor Veress and the Moldavian Collection." Artes. Journal of Musicology 22, no. 1 (March 1, 2020): 245–61. http://dx.doi.org/10.2478/ajm-2020-0014.
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AbstractAs a student of Zoltán Kodály and Béla Bartók, but also a close collaborator of László Lajtha at the Hungarian Ethnographic Museum in Budapest, and later of Béla Bartók at Folk Department of the Hungarian Academy of Science, Sándor Veress followed the path of his masters regarding the relation with folklore music. In 1930, he undertook an expedition in Moldavia, Romania, to collect music from the Csángó population, a small Hungarian speaking community, of catholic faith, living in the east of the Carpathian Mountains. In the seven villages he has visited, he collected, with the help of the phonograph, 138 folk songs on 57 wax cylinders, taking in the same time around 60 pictures and documenting the whole expedition in a journal. Following this journey, during the 30’s, Sándor Veress not only transcribed and analyzed the entire material, but also selected some of the melodies and used them as theme for his own choir arrangements and chamber music compositions.
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Mazur, Olexander. "Sound recordings from radio archives: the restoration of music in digits." Obraz 35, no. 1 (2021): 142–51. http://dx.doi.org/10.21272/obraz.2021.1(35)-142-151.
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A holistic historical and informational analysis was conducted in the scientific context of the synergy of two systems – sound recording and radio broadcasting. Methodological support of the study was based on the use of general scientific and special methods. Taking into account the experience of «BBC Radio 1» in creating a unique collection of sound recordings and areas of use of music collections as objects of archival storage, the features of recording music sessions in recording studios of radio stations are revealed. The main methods of restoration, restoration and digitization of stock music phonograms of radio broadcasting subjects are revealed. Find out which software products perform digitization tasks. The author concludes that the basis for the protection and storage of music collections of radio archives is the organization of a system of backup and duplication of data.
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Rodionova, Aleksandra P., and Tatyana V. Pashkova. "Collections of Livvic dialectal materials in the Phonogram archive of the Institute of Linguistics, Literature and History of the Karelian Research Centre of the Russian Academy of Sciences." Finno-Ugric World 15, no. 2 (July 13, 2023): 189–99. http://dx.doi.org/10.15507/2076-2577.015.2023.02.189-199.
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Introduction. The article presents the overview of the Livvic dialectal audio materials stored in the Phonogram Archive of the Institute of Linguistics, Literature and History of the Karelian Research Centre of the Russian Academy of Science (Petrozavodsk). Materials and Methods. The article is based on the digital information resources, folklore-ethnographic and linguistic data obtained in the ILLH KarRC RAS archives. The research was carried out using descriptive, comparative, historical and chronolohical methods. Results and Discussion. The Institute’s Phonogram Archive stores field materials which have been collected by the Institute’s specialists since the 1930s. These are speech samples, folklore works, as well as information about the culture and life of the peoples living in the Republic of Karelia, and neighboring regions. The article considers collections of audio materials in the Livvik dialect of the Karelian language, which were collected on the territory of South Karelia in the Olonetsian, Pryazha’s, Suoyarvi’s, Pitkyaranta’s districts. They include not only speech samples, but also some data on ethnography, toponymy, folklore, etc. Part of the material from the Livvic collection (dialect and folklore-ethnographic materials) is presented in the article as the tables that help navigate it. It can be useful for a wide range of specialists: ethnographers, linguists, folklorists, historians. Conclusion. The collections of Livvic dialect and folklore-ethnographic materials of the Phonogram Archive of the ILLH of the Karelian Research Centre of the Russian Academy of Sciences include valuable linguistic, folklore and ethnographic material. The authors have presented a small part of the unique material stored in the archive. Digitization of archival and field audio samples of Karelian speech in the format of a speech corpus can further simplify the processing and storage of materials, can make it possible to introduce into academic and research environment and make available the unique audio materials which reflect the state of Karelian and Vepsian dialects since the middle of the last century.
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ДЗЛИЕВА, Д. М. "ABOUT THE AUDIO COLLECTIONS OF THE NOIHSS SCIENTIFIC ARCHIVE." Известия СОИГСИ, no. 52(91) (June 21, 2024): 183–94. http://dx.doi.org/10.46698/vnc.2024.91.52.009.
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В статье анализируются содержание и состав аудиоматериалов фоноархива Северо-Осетинского института гуманитарных и социальных исследований им. В. И. Абаева. Автором статьи разработана также специальная структура, сформированная на основе имеющегося перечня оцифрованного материала. Работа над статьей потребовала предварительной работы по уточнению описей, поиска отчетов фольклорных экспедиций, ежегодных отчетов о работе авторов коллекций за период более полувека. Цель работы: систематизировать фоноархив СОИГСИ им. В.И. Абаева; ознакомить с материалами заинтересованную аудиторию; обратить внимание исследователей на важность расшифровки аудио-образцов и привлечения их к исследованиям. Аудиофайлы Научного архива составляют более 90 часов записей различного содержания, основная часть которых – музыкальный материал (песни и наигрыши). Встречаются также легенды, эпические поэмы, сказания, баллады, радиопередачи, лекции, беседы и воспоминания. К сожалению, не все материалы паспортизированы должным образом, но этот факт ни в коем случае не преуменьшает значения аудиоколлекций. Особую ценность представляют ныне полностью вышедшие из традиции песни: обрядовая Алардыйы зарæг (песня, посвященная покровителю кожных и глазных болезней); трудовая Онай (песня, исполняющаяся во время валяния войлока); обрядовая песня Басилтæ (колядка); Нартовские сказания в сопровождении старинных музыкальных инструментов, а также уникальные записи наигрышей на духовом инструменте Уадындз. Фономатериалы Научного архива СОИГСИ представляют интерес для специалистов, работающих над каталогизацией аудиофондов, а также изучающих осетинское народное музыкальное творчество и фольклор в целом. Исследование аудиоархива имеет огромное значение в работе над вопросами культурной антропологии, социологии культуры и этномузыковедения. The article analyses the content and composition of audio materials of the Phonographic Archive of the V.I. Abaev North-Ossetian Institute of Humanitarian and Social Studies. The author of the article also developed a special structure formed based on the available list of digitised material. The work on the article required preliminary work to clarify the inventories, search for reports of folklore expeditions, annual reports on the work of the authors of the collections for a period of more than half a century. Purpose of the study: to systematise the Phonographic Archive of the V.I. Abaev North-Ossetian Institute of Humanitarian and Social Studies; to familiarise the interested audience with the materials; to draw the attention of researchers to the importance of transcribing audio samples and involving them in research. The audio files of the Scientific Archive comprise more than 90 hours of recordings of various contents, the main part of which is musical material (songs and tunes). There are also legends, epic poems, tales, ballads, radio programmes, lectures, conversations and memoirs. Unfortunately, not all the materials have been properly passportised, but this fact in no way diminishes the importance of the audio collections. Songs that are completely out of tradition are of particular research value: the ritual Alardiyy Zaræg (a song honouring the Patron of Skin and Eye Diseases.); the labour song Onay(a felting song); the ritual song Basiltæ (a carol); Nart Sagas accompanied by ancient musical instruments, as well as unique recordings of playing on the wind instrument Uadyndz. The phonographic materials of the V.I. Abaev North-Ossetian Institute of Humanitarian and Social Studies Scientific Archive are of interest to specialists working on the cataloguing of audio funds, as well as those studying Ossetic folk music and folklore in general. The study of the audio archive is of great importance in working on issues of cultural anthropology, sociology of culture and ethnomusicology.
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Trabelsi, Mehdi. "Etude complémentaire de manuscrits des transcriptions et des enregistrements sonores algériens de Béla Bartók." Studia Musicologica 53, no. 1-3 (September 1, 2012): 323–40. http://dx.doi.org/10.1556/smus.53.2012.1-3.22.
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When travelling in and around Biskra, Algeria, in 1913, Béla Bartók recorded almost two hundred melodies on phonograph cylinders. Bartók’s unique research was the subject of my PhD dissertation at the Sorbonne in Paris in 2003. The dissertation was based on about half of Bartók’s Arab collection available at the time at the Budapest Bartók Archives. In the meantime in 2006, the CD-ROM Bartók and Arab Folk Music has made for the first time available all the surviving transcriptions and sound recordings, which represent Bartók’s collection almost in its entirety. The article summarizes new research into the source material which has recently become available and points out the special significance of his study of Arab folk music for ethnomusicological research into the Maghreb.
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Lange, Britta. "Archival Silences as Historical Sources. Reconsidering Sound Recordings of Prisoners of War (1915-1918) from the Berlin Lautarchiv." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 3 (April 9, 2018): 46–60. http://dx.doi.org/10.7146/se.v7i3.105232.
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This article aims to consider not only sound recordings of speech samples as historical sources, but also the absence of words and the content hereof: silences in speech. Its focus are sound recordings made by prisoners in German camps during World War I, today kept in the Lautarchiv (Sound Archive) of the Humboldt-Universität zu Berlin (http://www.lautarchiv.hu-berlin.de/). The World War I recordings comprise one of the archive’s three founding collections. The fi rst contains voice portraits of illustrious fi gures such as Kaiser Wilhelm II and Paul von Hindenburg, the recordings of which began during the war in connection with the autograph collection of Ludwig Darmstaedter. The second collection is made up of voice portraits of people who were not well-known or prominent individuals, but exemplary speakers of particular languages and dialects. Between 1915 and 1918, in German prisoner of war camps, the state-funded Königlich Preußische Phonographische Kommission (Royal Prussian Phonographic Commission) produced sound recordings of a range of languages, dialects and ethnic groups for the purposes of linguistic and musicological research.
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Gancarz, Natalia. "THE ROMA COLLECTION KNOWN AS THE AMARO MUSEUM." Muzealnictwo 58, no. 1 (September 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.3944.
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The first significant exhibition devoted to Roma/ Gypsy history and culture was organised in the Regional Museum in Tarnów in 1979. After its success, collections connected with the history of this ethnic group were initiated. The Ethnographic Museum in Tarnów (the branch of the Regional Museum) opened a permanent exhibition entitled “Gypsies. History and culture” as the first permanent museum exhibition devoted to Roma matters in 1990. The Gypsy collections of the museum amount to almost 1000 exhibits; moreover, it gathers professional photographic, cinematographic and phonographic documentation and archives, and it runs a specialised library. Based on this permanent Roma exhibition and collections, the museum in Tarnów organises numerous cultural and educational projects, as well as those that promote Roma culture and history. The International Roma Caravan Memorial is a regular event which has been organised since 1996. It is a project which consists in a kind of a reconstruction of a Gypsy wandering caravan, during which the participants visit places connected with Roma martyrdom during the Second World War in Małopolska. In addition, the museum publishes a scientific annual entitled “Studia Romologica”.
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Nurlybayeva, Fatima. "Cultural Heritage of Turkic-Speaking Peoples in World Collections: Historical Audio Recordings of The Berlin Phonogram Archive." Eurasian music science journal, no. 2 (December 19, 2021): 54–66. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/70.
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In the countries of the Turkic world, for more than 100 years of using sound recording devices, a huge amount of various sound materials on the traditional musical art of the Turkic peoples have been accumulated, recorded by scientists from different countries, in different regions and on different media. The first historical sound recordings of the Turkic-speaking peoples, which are of significant historical, cultural and scientific value, are kept separately in various foreign archives and have not received a complete and comprehensive study. This article provides a brief presentation of the unique historical audio materials of the music of the Turkic-speaking peoples, which were collected by German scholars at the beginning of the 20th century and are stored in the Berlin Phonogram Archive.
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Jackowski, Jacek, and Piotr Grochowski. "Etnofon. Jak udostępniać dokumentalne nagrania muzyki ludowej? Z Jackiem Jackowskim rozmawia Piotr Grochowski." Literatura Ludowa, no. 4 (February 21, 2022): 93–109. http://dx.doi.org/10.12775/ll.4.2021.006.
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Jacek Jackowski is a musician and ethnomusicologist, and the head of the Phonographic Collection at the Institute of Art of the Polish Academy of Sciences. He specializes in the conservation, digitization and archiving of old sound recordings. He is a field researcher and author of many academic articles on traditional, Catholic and folk religious culture associated with musical behaviours. He also published numerous articles and books on early folk music recordings and their digitization (Zachować dawne nagrania, Warszawa 2014; Polska muzyka tradycyjna – dziedzictwo fonograficzne, t. 1, Warszawa 2017; t. 2, Warszawa 2019), as well as 17 CD albums of folk songs and music from Kashubia, Kurpie, Podhale, Łowicz, Orava, South Wielkopolska and many other regions of Poland. Since 2014 he has been managing the Etnofon project, the goal of which is to create, develop and maintain a central digital repository of documentary phonographic and film recordings capturing Polish traditional songs and music as well as folk dance.
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Ziegler, Susanne. "Historical Sources of Turkish Music in Berlin: The Kurt Reinhard Collections in the Berlin Phonogramm-Archiv." Musicologist 3, no. 1 (June 30, 2019): 58–76. http://dx.doi.org/10.33906/musicologist.560186.
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Watson, Bruce. "The Man and the Woman and the Edison Phonograph: Race, History and Technology through Song." Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ) 1 (November 4, 2011): 1–8. http://dx.doi.org/10.60162/swamphen.1.10583.
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This is the story behind a photo of Fanny Cochrane Smith singing traditional Tasmanian songs, and being recorded by Horace Watson, in 1903. Fanny Cochrane was the first Aboriginal child born on Flinders Island in 1834, in the settlement established for Tasmania’s Aboriginal people. She claimed to be the last Tasmanian. Tasmania’s and Australia’s history reverberate through this image: cultural contact, genocide and reconciliation, tradition and modernity. The image is of the act of folklore collection at its most poignant. The article explores the life of two individuals and how they came together to create an invaluable record of Tasmanian Aboriginal culture. The reverberations continue to this day as their descendents’ lives are changed through their connection to this story and their continuation of its themes.For sound files, go to Supplementary Files in tool bar, right
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Niculescu, Oana, Maria Marin, and Daniela Răuţu. "Rediscovering past narrations: The oral history of the Romanian language preserved in the National Phonogram Archive." Bucharest Working Papers in Linguistics 22, no. 1 (2020): 49–60. http://dx.doi.org/10.31178/bwpl.22.1.3.
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In this paper we aim to deliver a key message related to the safeguarding of the Romanian National Phonogram Archive (AFLR). The data gathered within the Archive (the richest, most inclusive and diversified collection of dialectal texts and ethno-linguistic recordings in Romania) are of immeasurable documentary value. Through the digitization and preservation of AFLR we can gain access to both individual and collective memories, aiding to a better understanding of our cultural heritage on the one hand, and, on the other hand, restoring missing or forgotten pieces of Europe’s oral history.
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De Oliveira Júnior, Antonio Martins, Vinicius Marques Nejaim, and Fernanda Oliveira Santos. "Copyright and digital music platforms: harmony or dissonance?" OBSERVATÓRIO DE LA ECONOMÍA LATINOAMERICANA 22, no. 2 (February 5, 2024): e3077. http://dx.doi.org/10.55905/oelv22n2-006.
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This study addresses the complex relationship between copyright and digital music platforms in the digital era. As digital platforms become the primary means of music distribution, significant challenges arise concerning the protection and fair compensation of authors. The article explores the evolution of the music industry, from the early days of the phonograph to modern streaming platforms, highlighting the technological changes that have shaped the relationship between music and technology. The copyright system in Brazil is also discussed, influenced by the French dual protection model, encompassing both economic and moral rights. The text also analyzes the role of the Central Office for Collection of Copyright (ECAD) and its seven Associations in the collective management of copyright, as well as the issue of transparency in the distribution of economic rights. One point of debate is whether music transmission through streaming platforms should be considered public or private performance, directly impacting copyright revenue collection. Therefore, this study aims to present the relevant panorama of this new context of copyright associated with digital music platforms (streaming). Adopting a deductive methodology with exploratory research, the article concludes that the landscape of copyright in Brazil and its relationship with digital music platforms is a complex and challenging topic that requires careful consideration and appropriate regulation to ensure authors are adequately protected in a constantly evolving digital environment. It emphasizes the need for greater transparency and clarity in the collection, calculation, and distribution system of economic rights by digital music platforms.
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Yakubovskaya, Elena I. "THE PROBLEM OF TUNES IN THE COLLECTION OF KIRSHA DANILOV: VSEVOLOD KORGUZALOV’S APPROACH TO THE MANUSCRIPT." Texts and History Journal of Philological Historical and Cultural Texts and History Studies 3 (2023): 112–29. http://dx.doi.org/10.31860/2712-7591-2023-3-112-129.
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The manuscript known as Sbornik Kirshi Danilova (Collection of Kirsha Danilov), which was compiled in the 18th century and published at the beginning of the 19th century under the title Drevnie rossiiske stikhotvoreniia, sobrannye Kirshei Danilovym (Ancient Russian poems collected by Kirsha Danilov), is the first large collection of Russian folklore. It includes the most complete corpus of epic texts for that time, as well as songs of other genres. The manuscript preserved the repertoire of one performer, a bearer of the tradition, and it is unique because it presents both texts and tunes. The problem, however, is that the manuscript presents melodies and texts separately: the text does not accompany the corresponding notes but is written after the tune and is not divided into verses. The article describes the scholarly approach to this problem, which was developed and applied by Vsevolod Korguzalov, an employee of the Phonogram Archive of the Institute of Russian Literature (Pushkinskii Dom) in St. Petersburg, in the 1960s–1990s. This approach permits the reading and the performance of the repertoire of the manuscript in modern transcription.
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Kostiv, Oleksandr. "Features of the expanded collective management of copyright and (or) related rights objects under the updated legislation of Ukraine." Theory and Practice of Intellectual Property, no. 4 (October 25, 2021): 25–32. http://dx.doi.org/10.33731/42021.243117.
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Keywords: collective management of rights, copyright and related rights, extendedmanagement, organization of collective management, accreditation of the organization,remuneration, revocation of rights
The article examines the features of extended collective management of copyright and (or)related rights, as one of collective management types provided by the updated legislationof Ukraine in the study area. The author points out that the expanded collectivemanagement extends to the entire territory of Ukraine and is carried out on the propertyrights of all right holders in the relevant category in the areas for which the organizationis accredited, including those who have not concluded an agreement onmanagement of copyright and (or) related rights with an accredited organization, regardlessof the method chosen by such right holders to manage their rights.Among the areas of expanded collective management are: public performance ofmusical non-dramatic works with text and without text, including those works thatare included in the audiovisual works; public announcement of musical non-dramaticworks with and without text, including those works that are included in the audiovisualworks, except for cable retransmission; the right to a fair remuneration, commonto performers and producers of phonograms (videograms), for the public performance of phonograms and performances recorded in them or a public demonstration ofvideograms and performances recorded therein, published for commercial use; theright to a fair remuneration common to performers and producers of phonograms(videograms) for the public notification of phonograms and their recorded performances,videograms and fixed performances published for commercial purposes otherthan cable retransmission.Analysing the areas of expanded collective management, the author concludes thatthe position of the legislator in the question of completeness of the list of such areas isright, although the areas themselves, in the author's opinion, are not quite correctlydefined. Agreed that expanded collective management somewhat limits the rights ofthe right holder, the list completeness of its application areas contributes to the clarityof its application and does not create risks of involving other areas by analogy. Theauthor notes that for each area of extended collective management, one accredited organizationis determined in the case of absence of any conflicts of interest between themain category of right holders, in whose interests such an organization operates, andother categories of right holders. The remuneration collection system during extendedcollective management is also analysed by the author.Considerable attention in the study is paid to the issue of legal status and featuresof the additional accredited organization. Determinant in the issue of effective managementof copyright and related rights is the right holder’s right to revoke his rightsfrom an additional accredited organization.
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Synieokyi, O. "The study of sessional recordings of 1962-1972 from the BBC radioarchive (The Beatles, Pink Floyd, Deep Purple)." Visnyk of Kharkiv State Academy of Culture, no. 59 (July 16, 2021): 19–32. http://dx.doi.org/10.31516/2410-5333.059.02.
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Due to the recent increase in research interest in phono documents, which were created specifically for radio, a documentary analysis of the creation of music programs of the British Broadcasting Corporation is provided. Particular attention is paid to an overview of the chronology of recording sessions for a number of selected bands from the BBC’s archival collection (1962–1972). The role of John Peel in the creation of creative music programs within the framework of “Radio 1” was noted. The study showed that the digitalization of archival space has brought new opportunities for finding lost rarities that were at the origins of rock music. Both positive and negative trends in the restoration and use of archived musical phonograms from radio storages are noted.
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Sierociuk, Jerzy. "A centennial of dialectology in Poznań." Gwary Dziś 13 (December 15, 2020): 43–63. http://dx.doi.org/10.14746/gd.2020.13.3.
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This article presents the most relevant information on the history of dialectological research in Poznań and its context, the academic achievements of the Poznań University enjoyed in cooperation with the Poznań Society for the Advancement of Arts and Sciences. The two institutions have greatly contributed to the development of Polish studies including dialectology. The presented information pertains chiefly to the relatively unknown accomplishments of the dialectology team, for example a phonographic archive containing recordings of utterances of informants born in the second half of the 19th century (the oldest interlocutor was born in 1855). Together with contemporary recordings, the collection contains approximately 3,700 hours of rural speech. The entire archive is available in a digital version. The text is supplemented with information about the history of Poznań dialectology and the contemporary activities of the team of the Dialectology Workshop at the Poznań University, mainly lexicographic works.
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Ozola, Silvija. "ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 653–79. http://dx.doi.org/10.17770/sie2021vol4.6203.
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Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.
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Sabyrova, Aliya, and Aigerim Baribayeva. "Overview of the documentary film "The first audio recording of Kazakh music. Road of people"." Central Asian Journal of Art Studies 6, no. 1 (March 31, 2021): 165–75. http://dx.doi.org/10.47940/cajas.v6i1.347.
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Kazakh traditional music has been the research object for many scientists from Russia, Germany, Great Britain, Hungary, Japan, the United States, and other countries. In the 20th century, due to the establishment of Soviet power, the territory of Kazakhstan was closed for research by foreigners. Simultaneously, such a combination of events contributed to preserving materials collected before the Great October Socialist Revolution. Therefore, today it is vital for the World and Kazakh ethnomusicology to consider unknown materials and scientific sources. Various foreign archives contain materials unknown to Kazakh ethnomusicologists about Kazakh traditional music collected on researchers’ and traveler’s expeditions since the end of the XVIII century. Recordings of the German ethnographer-anthropologist R. Karutz were found in 2016 by the film crew of the Interstate TV and Radio Company “Mir”, and analyzed and published by the doctor of Art studies S. I. Utegalieva in the book” Turkestan collection of songs and instrumental pieces collected by R. Karutz (1905)”. These recordings prove that there are sources about Kazakh traditional music that can change the opinion about the historical significance of the Kazakh culture in the Central Asian region. The famous turcologist Efim Rezvan presented the records in the Pushkin Museum in St. Petersburg. It turned out that the original cylinders with authentic recordings are currently stored in the archive of the Berlin Museum of Visual Anthropology and Ethnology. This article reviews the documentary film "Road of People: The First Audio Recording of Kazakh Music", and sheds light on the possible prospects of studying the problem of research the Kazakh traditional music. Today, the Berlin Phonogram Archive contains samples of music from all over the world, the first recording dates back to 1900. The collection of wax cylinders by Richard Karutz is kept in the Department of Ethnomusycology, Visual Anthropology at the Berlin Phonogram Archive of the Ethnological Museum in Berlin. The collection is well preserved, and according to its curator Dr. Ricarda Kopal, there are 16 wax cylinders from Turkestan, an area of now southern Kazakhstan, which R. Karuts crossed during his expedition. The film crew brought digital copies of the recordings to Almaty for further study. Kazakh and international scientists and performers, professors and doctors of sciences: S. Utegalieva, T. Togzhanov, A. Berdibay (Kazakhstan), I. Saurova (Karakalpak Autonomous Republic), R. Abdullaev (Uzbekistan) and others were involved to decipher, analyze, describe and evaluate the musical and artistic content of the recordings. The whole process was documented in the film, which was worked on by a whole team of professional journalists, the script was written by Timur Sandybaev and Askar Alimzhanov, directed by Kanat Yessenamanov.
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Borlykova, B. Kh, and B. V. Menyaev. "Don Kalmyk Song Recordings Made by A. M. Listopadov." Nauchnyi dialog 11, no. 8 (October 30, 2022): 222–38. http://dx.doi.org/10.24224/2227-1295-2022-11-8-222-238.
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In spite of the previous two centuries of recording Kalmyk song folklore there are still unknown and littleknown manuscripts and audio recordings of Kalmyk song art, stored in Russian and foreign archives. The Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences has a handwritten collection of Don Kalmyk songs, recorded by musicologist Alexander Mikhailovich Listopadov in 1902 in the village of the Denisov Region of the Don Cossack Army. The first section of the manuscript contains seventeen songs and one excerpt from the heroic epic “Dzhangar”, the second section contains eleven songs of the Soviet period and two dance melodies. The records presented in the manuscript are valuable because they are the earliest examples of phonographic records of Kalmyk folklore. A preliminary review of the texts of Kalmyk songs from the first section of A. M. Listopadov revealed that the real collection seems to be extremely heterogeneous, it includes rare examples of hymn, historical, hunting, wedding and lyrical Kalmyk folk songs. Among the texts of the songs, the authors of the article found an excerpt from the epic “Dzhangar”, which refers to the Maloderbet cycle. Introducing the entire collection of A. M. Listopadov into scientific circulation will deepen understanding the Kalmyk folklore of the 19th — the first half of the 20th centuries, will serve as an additional source for its new interpretation, will contribute to comparative studies of the folklore of the Mongolianspeaking peoples.
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Vovchak, Andriy. "Scientific Work of Iryna Dovgaliuk in the Field of History of Ukrainian eth- nomusicology." Ethnomusic 16, no. 1 (2020): 16–62. http://dx.doi.org/10.33398/2523-4846-2020-16-1-16-62.
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The article offers an overview of 30 years of scientific activity of Lviv ethno- musicologist Iryna Dovhaliuk in the field of history of Ukrainian ethnomusicology. The multifaceted creation of the researcher has been revealed in the main prob- lematic and thematic areas, taking into account the time dynamics of the studio deployment. Among the considered directions: a) musical and ethnographic activity of Ukrai- nian folklorist Osyp Rozdolskyi: b) history of publication of Ukrainian folk music; c) folkloristic activity of Filaret Kolessa; d) history of phonography of Ukrainian folk music; e) folk music archiving (phonoarchiving). Peculiarities of the research style of Iryna Dovhaliuk, theoretical and metho- dological and applied tools of her historical searches have been traced. Emphasis is placed on the scrupulousness and diversity of source studies of Iryna Dovhaliuk, the focus on maximum objectivity and provability of scientific conclusions; on meticu- lous attention to the smallest facts on the research problem in order to trace its de- velopment as fully as possible and on this basis to comprehensively understand the general tendencies; on a wide amplitude of historical and theoretical generalizations of the processes of formation and development of Ukrainian ethnomusicology in a broad comparative context with similar processes in the world music folklore studies. Special emphasis is placed on the active scientific and socio-cultural position of the researcher, and in particular on the unique projects of Iryna Dovhaliuk for Ukrainian science to preserve and introduce into scientific circulation the musical and ethnographic heritage of Ukrainian collectors, in particular valuable collections of phonorecords of Ukrainian folk music of the first half of the twentieth century. The review has been prepared mainly on the basis of printed publications of Iryna Dovhaliuk, as well as the analysis of her research and promotion projects and events.
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Kusto, Agata. "Pieśni ludowe Pojezierza Łęczyńsko-Włodawskiego. Z prac badawczych i materiałów folklorystycznych Instytutu Muzyki UMCS." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (December 8, 2017): 103. http://dx.doi.org/10.17951/l.2017.15.1.103.
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<p>W artykule omówiony jest repertuar pieśni ludowych żyjących w tradycji ustnej na Pojezierzu Łęczyńsko-Włodawskim. Opracowanie zawiera tabelaryczne zestawianie incipitów pieśni, wyposażonych w odesłania do literatury i komentarze dotyczące wykonawców. Podstawą prezentowanego wywodu są rezultaty badań przeprowadzonych w latach osiemdziesiątych XX wieku przez Mirosława Grusiewicza – zamieszczone w jego pracy magisterskiej napisanej pod kierunkiem Zenona Kotera – oraz zebrane przez niego materiały fonograficzne, przechowywane obecnie w Instytucie Muzyki UMCS.</p><p>SUMMARY</p><p>The article discusses the repertoire of folk songs continued in oral tradition in the Łęczna-Włodawa Lake District. The survey contains a tabular specifi cation of song incipits with references to literature and comments concerning performers. The presentation is based on the results of research conducted in the nineteen-eighties by Mirosław Grusiewicz (they are contained in his MA thesis written under the supervision of Zenon Koter, PhD ), and on the phonographic materials he collected, now stored at the Maria Curie-Skłodowska University Institute of Music. In terms of its origin, the repertoire of the Łęczna-Włodawa Lake District consists of three groups. The fi rst group is the archaic collection of ritual wedding songs and couplets, the second comprises traditional common folk songs (inter alia class songs, and courtship and military songs) prone to variability and accommodation, and the third is made up of the youngest repertoire in terms of origin, containing occasional songs or those heard on the mass media.</p><p> </p>
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Rodionova, A. P. "COLLECTION OF LUDIC DIALECTAL MATERIALS IN THE PHONOGRAM ARCHIVE OF THE INSTITUTE OF LINGUISTICS, LITERATURE AND HISTORY OF THE KARELIAN RESEARCH CENTRE OF THE RUSSIAN ACADEMY OF SCIENCES." Учёные записки Петрозаводского государственного университета 44, no. 7 (October 2022): 64–70. http://dx.doi.org/10.15393/uchz.art.2022.818.
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Podrezova, Svetlana V. "ON THE FORTHCOMING OBONEZHIE VOLUMES OF THE SVOD RUSSKOGO FOLKLORA SERIES: MATERIALS FROM THE 1931–1932 EXPEDITIONS OF THE FOLKLORE SECTION OF THE INSTITUTE FOR THE STUDY OF PEOPLES IN THE COLLECTION OF THE INSTITUTE OF RUSSIAN LITERATURE (PUSHKINSKII DOM) IN ST. PETERSBURG." Texts and History Journal of Philological Historical and Cultural Texts and History Studies 3 (2023): 130–48. http://dx.doi.org/10.31860/2712-7591-2023-3-130-148.
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The article considers for the first time the history, methods, and results of two folklore expeditions to the Zaonezhie region, which took place in the summer of 1931 and in the winter of 1931/1932. The expeditions were led by members of the Folklore Section of the Institute for the Study of Peoples of the USSR and the Karelian Research Institute. Two students of the Leningrad State Historical and Linguistic Institute, M. B. Kaminskaia and N. N. Tiaponkina, took part in the expeditions. Among other things, the expeditions were especially charged with collecting materials on the current state of the epic tradition and the “social function of the epic.” The expedition of 1931 was intended to provide field practice experience to students. For that matter it involved many participants and solved a wide range of problems. Members of the expedition took records only in notebooks. The 1931–1932 winter expedition was professional, so it took records even on wax cylinders. The article summarizes data concerning both expeditions and pays special attention to the materials on the Russian epic tradition. It reconstructs the route of the winter expedition, provides an inventory of the phonographic collection, and reviews the handwritten records. The analysis of the materials showed that the young specialists adopted the work methods used by Leningrad folklorists: searching for masters of epics performance, working with both the best and ordinary performers, practicing separate handwriting of the text (“in 2 pencils”) and sound recording, collecting biographies of performers, taking detailed interviews about the experience of mastering of the epic tradition and the experience of performing. These methods made it possible to accumulate important material about the folklore and ethnography of the Zaonezhie region.
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Подрезова, С. В., and Т. В. Швец. "The Liturgical Singing Tradition of the Old Believers Priests of the Village of Koida (Based on the Materials of the Pushkin House Expedition in 1975 and 1976)." OPERA MUSICOLOGICA, no. 2021 (December 24, 2021): 6–36. http://dx.doi.org/10.26156/om.2021.13.4.001.
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В 1975 и 1976 годах состоялись фольклорные экспедиции Института русской литературы в с.Койда Мезенского р-на Архангельской области, в ходе которых были записаны разнообразные в стилевом и историческом отношении духовные стихи, а также богослужебные песнопения. До настоящего времени коллекция звукозаписей, хранящаяся в Фонограммархиве ИРЛИ, не становилась предметом специального изучения. В ходе исследования удалось атрибутировать гимнографические тексты, выделить особенности распевов и духовных стихов, выявить их источники, частично реконструировать условия звукозаписи. На основе материалов более поздних фольклорно-археографических экспедиций ИРЛИ были восстановлены сведения о жизни старообрядческой общины, которая принадлежала к белокриницкому согласию. Коллекция богослужебных песнопений в музыкальном отношении разнообразна: она содержит пение «по напевке», «на глас», распевы письменной традиции, памятогласие. Внебогослужебная лирика представлена популярными духовными стихами позднего происхождения, за исключением эсхатологических стихов, распевы которых опираются на богослужебную традицию гласового пения. In 1975 and 1976, the Institute of Russian Literature (the Pushkin House) arranged expeditions to the village of Koida, Mezensky District, Arkhangelsk Region, during which spiritual verses and liturgical chants diverse in style and history were recorded. Until now, the collection of sound recordings (32 items) stored in the Phonogram Archive has not been a subject of special study. In the course of the research, it has become possible to attribute hymnographic texts, to highlight specifics of the chants and spiritual verses, to identify their sources, and partially reconstruct conditions of the sound recording. The materials of later folklore and archaeographic expeditions, provided the following information: facts about the life of the Old Believer’s community that belonged to the Belokrinitsky concord, the names of mentors, forms of mentoring and transmitting the singing tradition. The chants and spiritual verses were recorded from two significant performers — mentors Nadezhda Malygina and Nikandr Malygin. The collection of chants is diverse and contains oral and written versions of chants, mnemonic (pamyatoglasie). Non-liturgical music is represented by popular spiritual poetry of late origin, except for eschatological verses, the melody of which is similar to the chant.
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Novak, I. P. "COLLECTION OF TVER KARELIAN MATERIALS IN THE PHONOGRAM ARCHIVE OF THE INSTITUTE OF LINGUISTICS, LITERATURE AND HISTORY OF THE RAS KARELIAN RESEARCH CENTRE OF THE RUSSIAN ACADEMY OF SCIENCIES." Учёные записки Петрозаводского государственного университета 43, no. 1 (January 2021): 41–51. http://dx.doi.org/10.15393/uchz.art.2021.566.
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Битерякова, Е. В. "Moscow Conservatory Folk Expeditions to the Starodubsky Region in the 1950s (On the History of Field Study Under the Leadership of Klyment Kvitka)." ТРАДИЦИОННАЯ КУЛЬТУРА 24, no. 1 (March 25, 2023): 146–58. http://dx.doi.org/10.26158/tk.2023.24.1.013.
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Статья посвящена экспедициям Московской консерватории в Стародубский район Брянской области, инициированным профессором К.В. Квиткой в 1950-е гг. Уникальные аудиозаписи, многочисленные рукописные полевые заметки и фотодокументы на протяжении ряда десятилетий оставались неопубликованными и не введенными в научный обиход. Между тем материалы, собранные сотрудниками Кабинета по изучению музыкального творчества народов СССР Л.А. Бачинским и К.Г. Свитовой, сохраняют научную и художественную ценность в наши дни, а их совместная работа может быть вписана в историю отечественной фольклористики как один из важнейших ее эпизодов. На основе изучения фонограмм и рукописных документов, хранящихся в фондах Научного центра народной музыки им. К.В. Квитки, автором статьи воссозданы обстоятельства полевой работы в 1950-е гг., уточнены ее цели и задачи, а также дана общая оценка материалов и итогов. Главными достижениями собирателей признаны высококачественная запись на студийной аппаратуре образцов ансамблевого пения и сольной инструментальной игры в период активного бытования местных народных традиций и фиксация значительного объема этнографических сведений. This article is devoted to the expeditions of the Moscow Conservatory to the Starodubsky region of the Bryansk region in the 1950s, initiated by Prof. Klyment Kvitka. Their unique audio recordings, handwritten field notes and photographic documents have mostly remained unpublished and not been introduced into scholarly use. Still, these materials, collected by Leo Batchinsky and Klavdia Svitova, retain their scholarly and artistic value today, and their joint work can be inscribed in the history of Russian ethnomusicology as an important episode. On the basis of phonograms and handwritten documents stored in the Klyment Kvitka Research Center for Folk Music, the author analyzes the circumstances of this field work in the 1950s, clarifying its goals and objectives, and gives a general assessment of its results. Batchinsky and Svitova’s main achievements include high-quality recordings of ensemble singing and solo instrumentals, created during a time of active local folk traditions, and the collection of a significant amount of ethnographic information.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Šír, Filip. "Research on the Production of Czech Sound Recordings to 1946 Focusing on the Gramophone Company ESTA." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 45 (October 1, 2015). http://dx.doi.org/10.35320/ij.v0i45.87.
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The study brings the partial results of the research undertaken within the framework of the project Internal Grants of the Faculty of Arts of Charles University. The research deals with the Czech production of sound recordings and it is focused on the gramophone record company ESTA up to 1946 in Czechoslovakia. A brief summary of the evolution of gramophone records is followed by an introduction of the first Czechoslovak gramophone company ESTA and its production. Methodologically, the study relies on a physical survey of the phonograph records in selected collections in our country and abroad and on the historical bibliographic records or databases of selected institutions in the Czech Republic. The aim of the research is to collect bibliographic information about the production of gramophone records in our territory to 1946 and, in cooperation with the Moravian Library in Brno, finally to make the data gradually accessible in the Virtual National Phonotheque database.
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Ziegler, Susanne. "Collections of Music from the Arab World in the Berlin Phonogramm-Archiv." World of music (new series) 12, no. 2 (February 26, 2024). http://dx.doi.org/10.59998/2023-12-2-1425.
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The number of collections of music from the Arab world housed in the Berlin Phonogramm-Archiv (BPhA), 30 in all, is impressive, as is the great number of wax cylinders. In the beginning, Arab music was not the main concern of the Berlin Phonogramm-Archiv; there were a small number of collections of music from the Arab world until 1918, but even then, extensive research was being done (see Hornbostel's 1906–7 article on Tunisian music). Recordings made in German prisoner-of-war camps during World War I augmented the holdings. Fieldwork in Arab countries peaked around 1930, with recordings made by Robert Lachmann as the leading figure and several other scholars associated with the Berlin School of Comparative Musicology. This article presents an overview of the BPhA's collections from the Arab world, their status and content, and highlights their specific features compared to its collections from other regions of the world. Based on the historical documents associated with the collections (correspondence, publications), information will also be given about the collectors, their backgrounds, motivations, and fieldwork.
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Bahra, Nadia, Lando Kirchmair, Matthias Pasdzierny, and Albrecht Wiedmann. "Access to Waxes – The Collections from the Arab World of the Berlin Phonogramm-Archiv: Between Digitization, "Repatriation," and Online Publication." World of music (new series) 12, no. 2 (February 26, 2024). http://dx.doi.org/10.59998/2023-12-2-1422.
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The introduction summarizes the key topics of the themed issue "Access to Waxes – The Collections from the Arab World of the Berlin Phonogramm-Archiv (BPhA)” and its contributions. It discusses the ethical, legal, and technical considerations involved in making these culturally significant but also sensitive recordings from the Arab world accessible to the public, especially in the context of ongoing debates around “decolonization” and cultural restitution.
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Castelo-Branco, Salwa El-Shawan. "Interrogating "Access to Waxes" – Introductory Remarks on the Collections from the Arab World of the Berlin Phonogramm-Archiv." World of music (new series) 12, no. 2 (February 26, 2024). http://dx.doi.org/10.59998/2023-12-2-1424.
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This paper contextualizes the “Access to Waxes” workshop and publications within the broader context of the ongoing debates in ethnomusicology and related disciplines about the ethics and politics of historical sound recordings, archives, acoustic memory, cultural rights, intellectual property, musical repatriation, and access. Selected initiatives on the topic spearheaded by the two major scholarly societies focusing on the transdisciplinary study of music, the ICTMD and the Society for Ethnomusicology, are referred to. The contribution also critically evaluates the categorization and labeling of music in archives (like the term “Arab/Arabic music”) and emphasizes the need for a critical study of historical sound recordings like the collections of the Berlin Phonogrammarchiv. This would involve collaboration with source communities and local institutions ideally leading to the development of shared research practices and creating the conditions to access, revitalize, and sustain their musical heritage.
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Lambert, Jean. "Historical Glimpse of Music in Yemen in the 1930s: A First Approach to the Cylinders Recorded by Hans Helfritz." World of music (new series) 12, no. 2 (February 26, 2024). http://dx.doi.org/10.59998/2023-12-2-1426.
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The 102 cylinders recorded by Hans Helfritz in Yemen in 1930–31 and held by the Berlin Phonogramm-Archive represent a precious asset for the study of music of this country. They are the first large number of recordings of Yemenite music carried out in the field, just before the beginning of the first commercial recordings in Aden a few years later. Unlike the Aden recordings, Helfritz's represent mainly popular musical genres from the different tribes from the Highlands and Hadramawt, soldiers' songs, work songs, women's songs, and Jewish songs. As a first approach to this collection, I re-documented an anthology of a dozen of these recordings. I brought together as much information as possible from different sources in order to contextualize this music and its collection: Helfritz's biography, his books, his two main travels to Yemen and how he recorded music, and some considerations about Helfritz's contribution to the knowledge of Yemenite music. I consider the ambiguities of his orientalist vision and approach as an explorer more than as a musicologist, which contributed to the form and content of the collection itself. Finally, I bring up a few ethical considerations about these "captured sounds" and the future of this collection.
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Редькова, Е. С. "To History of the First Expeditions of the Ethnographic Laboratory of the Leningrad Conservatory." OPERA MUSICOLOGICA, no. 3(41) (September 25, 2019). http://dx.doi.org/10.26156/om.2019.41.3.004.
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Статья посвящена первым экспедициям Музыкальноэтнографического кабинета Ленинградской консерватории 1927 и 1928 годов в Закавказье и Узбекистан, организованных Х. С. Кушнарёвым, Е. В. Гиппиусом и З. В. Эвальд. Архивные документы из консерватории и Центрального государственного архива литературы и искусства в сопоставлении со сведениями из Фонограммархива Института русской литературы и опубликованными данными позволяют представить историю формирования одной из крупнейших на тот момент коллекций фонографических записей музыкального фольклора СССР и развития этномузыкологии в консерватории. The article is devoted to the first expeditions of the Ethnographic laboratory of the Leningrad conservatory of 1927 and 1928 to Transcaucasia and Uzbekistan organized by Ch. S. Kushnarev, E. V. Gippius and Z. V. Ewald. Archival documents from the conservatory and the Central state literature and art archives of St. Petersburg compared to the data from the Fonogramm Archives of the Institute of the Russian literature and the data published allow us to present the history of formation of one of the largest collections of phonographic records of musical folklore of the USSR of that time and development of ethnomusicology at the conservatory.