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Journal articles on the topic 'Phonograph'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

Deyomas, George G. "Phonograph Buff." Computer Music Journal 11, no. 1 (1987): 14. http://dx.doi.org/10.2307/3680169.

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6

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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7

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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8

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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9

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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10

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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11

Wolff, Andrew M. "Accurately tracking phonograph arm." Journal of the Acoustical Society of America 80, no. 6 (December 1986): 1871. http://dx.doi.org/10.1121/1.394225.

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12

McNeese, Andrew R., Richard D. Lenhart, Jason D. Sagers, and Preston S. Wilson. "A homemade Edison tinfoil phonograph." Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2581. http://dx.doi.org/10.1121/1.3588527.

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13

Smil, Vaclav. "February 1878: The first phonograph." IEEE Spectrum 55, no. 2 (February 2018): 24. http://dx.doi.org/10.1109/mspec.2018.8278131.

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14

Katz, Mark. "Portamento and the Phonograph Effect." Journal of Musicological Research 25, no. 3-4 (December 2006): 211–32. http://dx.doi.org/10.1080/01411890600860733.

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15

FISKE, GEORGE F. "THE PHONOGRAPH IN TESTING HEARING." JAMA: The Journal of the American Medical Association 264, no. 23 (December 19, 1990): 2987. http://dx.doi.org/10.1001/jama.1990.03450230019008.

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16

Laing, Dave. "A voice without a face: popular music and the phonograph in the 1890s." Popular Music 10, no. 1 (January 1991): 1–9. http://dx.doi.org/10.1017/s026114300000427x.

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While the rock'n'roll era, dance bands, country and the blues have been the subject of detailed and analytical histories, the 1890s, those formative years of music-recording, still await adequate and rigorous scrutiny. The standard (and only) history of the recording process remains Roland Gelatt's The Fabulous Phonograph, whose first edition appeared in 1955. But while Gelatt's foreword promisingly notes that ‘the history of the phonograph is at once the history of an invention, an industry and a musical instrument’, his book seldom rises above a journalistic narrative. It is also marred by an ill-concealed bias towards the classical repertoire and against popular musics.

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17

Schwäbl, Tiago. "Máquinas Ruidosas." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 1 (August 10, 2018): 228–30. http://dx.doi.org/10.14195/2182-8830_6-1_17.

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18

Unger, J. Marshall. "What linguistic units do Chinese characters represent?" Written Language and Literacy 14, no. 2 (September 8, 2011): 293–302. http://dx.doi.org/10.1075/wll.14.2.06ung.

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Using the Internet and spreadsheet software, it is now easy to compare word and character counts for modern and literary Chinese based on very large corpora. It turns out that word counts comply with Zipf’s Law whereas character counts do not. This constitutes novel statistical evidence against the persistent claim that Chinese characters are logograms. It thus casts doubt on the practice of categorizing the elements of various writing systems as ‘phonograms’ or ‘logograms’ without regard to context, and a fortiori characterizing entire writing systems as ‘phonographic’ or ‘logographic’. Keywords: Chinese; word; character; morpheme; syllable; phonogram; logogram; Zipf’s Law; corpus

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19

Gurd, Sean Alexander. "The Ancient Phonograph by Shane Butler." American Journal of Philology 137, no. 3 (2016): 555–59. http://dx.doi.org/10.1353/ajp.2016.0030.

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20

Melnick, J. "Spoken Word: Postwar American Phonograph Cultures." Journal of American History 99, no. 1 (May 22, 2012): 355–56. http://dx.doi.org/10.1093/jahist/jas083.

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21

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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22

Einhaus, Hermanus F. "Low friction phonograph tone arm traverse." Journal of the Acoustical Society of America 81, no. 3 (March 1987): 809. http://dx.doi.org/10.1121/1.394665.

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23

Adorno, Theodor W., and Thomas Y. Levin. "The Form of the Phonograph Record." October 55 (1990): 56. http://dx.doi.org/10.2307/778936.

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24

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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25

Sagers, Jason D., Andrew R. McNeese, Richard D. Lenhart, and Preston S. Wilson. "Analysis of a homemade Edison tinfoil phonograph." Journal of the Acoustical Society of America 132, no. 4 (October 2012): 2173–83. http://dx.doi.org/10.1121/1.4740492.

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26

RADICK, GREGORY. "Morgan's canon, Garner's phonograph, and the evolutionary origins of language and reason." British Journal for the History of Science 33, no. 1 (March 2000): 3–23. http://dx.doi.org/10.1017/s0007087499003842.

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‘Morgan's canon’ is a rule for making inferences from animal behaviour about animal minds, proposed in 1892 by the Bristol geologist and zoologist C. Lloyd Morgan, and celebrated for promoting scepticism about the reasoning powers of animals. Here I offer a new account of the origins and early career of the canon. Built into the canon, I argue, is the doctrine of the Oxford philologist F. Max Müller that animals, lacking language, necessarily lack reason. Restoring the Müllerian origins of the canon in turn illuminates a number of changes in Morgan's position between 1892 and 1894. I explain these changes as responses to the work of the American naturalist R. L. Garner. Where Morgan had a rule for interpreting experiments with animals, Garner had an instrument for doing them: the Edison cylinder phonograph. Using the phonograph, Garner claimed to provide experimental proof that animals indeed spoke and reasoned.

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27

BIERS, KATHERINE. "Syncope Fever: James Weldon Johnson and the Black Phonographic Voice." Representations 96, no. 1 (2006): 99–125. http://dx.doi.org/10.1525/rep.2006.96.1.99.

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ABSTRACT This essay examines links between James Weldon Johnson's novel The Autobiography of an Ex-Colored Man and the cultural logic of ragtime and the phonograph during the pre-WWI era, in order to reconsider critical conceptions of voice within the African-American tradition.

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28

Ralickas, Vivian. "The horrors of technology in the fiction of H. P. Lovecraft." Horror Studies 13, no. 1 (April 1, 2022): 77–96. http://dx.doi.org/10.1386/host_00047_1.

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Ralickas identifies the horror of technology in Lovecraft’s fiction as the human subject’s abject fear of machinery, whose alienating nature symbolically underscores the ubiquity of the Second Industrial Revolution’s mass-produced recording and electrical devices including the phonograph, the telegraph, the photographic camera and the typewriter.

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29

Sagers, Jason D., Andrew R. McNeese, and Preston S. Wilson. "Acousto-mechanical modeling of an Edison tinfoil phonograph." Journal of the Acoustical Society of America 130, no. 4 (October 2011): 2397. http://dx.doi.org/10.1121/1.3654610.

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30

Barnett, Kyle S. "Furniture Music: The Phonograph as Furniture, 1900?1930." Journal of Popular Music Studies 18, no. 3 (December 2006): 301–24. http://dx.doi.org/10.1111/j.1533-1598.2006.00096.x.

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31

Fekete, Ferenc. "Stylus shielding and unshielding apparatus for a phonograph." Journal of the Acoustical Society of America 78, no. 4 (October 1985): 1458–59. http://dx.doi.org/10.1121/1.392781.

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32

Seeler, Charles C. "Tubular beryllium phonograph needleshank and method of formation." Journal of the Acoustical Society of America 77, no. 6 (June 1985): 2213. http://dx.doi.org/10.1121/1.391674.

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33

Neely, Daniel, Erika Brady, and David Morton. "A Spiral Way: How the Phonograph Changed Ethnography." Yearbook for Traditional Music 32 (2000): 181. http://dx.doi.org/10.2307/3185252.

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34

Gable, Myron, and Roger Dickinson. "The Phonograph Industry 1946-1966 Revisited: A Note." Journal of Macromarketing 15, no. 1 (March 1995): 107–9. http://dx.doi.org/10.1177/027614679501500109.

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35

Shikata, S., S. Yamamoto, K. Maeda, K. Nakagawa, and S. Kitaoka. "Whole diamond stylus for the long play phonograph." Diamond and Related Materials 63 (March 2016): 232–35. http://dx.doi.org/10.1016/j.diamond.2015.12.006.

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36

Seo, Youseok. "Release of Pansori Records and Its Meaning after the 1990s - Focused on Phonograph Effect -." Korean Language and Literature in International Context 74 (September 30, 2017): 209–67. http://dx.doi.org/10.31147/iall.74.9.

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37

SKJERSETH, AMY. "Electric Ladies in Playback." Music, Sound, and the Moving Image 16, no. 1 (July 1, 2022): 1–27. http://dx.doi.org/10.3828/msmi.2022.1.

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Playback, the process of separately recording actors’ images and voices in cinema and media, has a long history of cultural stereotyping. This article analyses how performers are typecast when media technicians manipulate sound/image synchronisation in lip sync and dubbing. Inspired by Janelle Monáe’s oeuvre, I focus my study through the figure of the electric lady - female simulacra who are programmed by heteronormative, patriarchal operators. I trace the electric lady back to talking machines (Faber’s Euphonia) and early phonograph recordings (minstrelsy and opera singer Agnes Davis) to show how proto- and post-phonographic notions of playback are bound up with racialised and gendered stereotypes. Drawing on the work of Alice Maurice, Mary Ann Doane, Jennifer Fleeger, and others, I illustrate how industrial practices of playback reproduce the sounds and images of ideal femininity and obedient Others. In her ‘emotion picture’ Dirty Computer (2018), Monáe transforms history’s electric lady from obstinate object to empowered subject by unmasking homogenising operations of playback. Monáe lip syncs as multiple personae to showcase the material heterogeneity of her Black, queer, and feminist identities. Ultimately, Monáe’s hybrid personae mobilise Doane’s notion of the masquerade in their defiance of playback norms that would bind Monáe to racialised and gendered images.

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38

Joao Silva. "Early Portuguese recordings for The Gramophone Company (1900—1908) and the establishment of a phonographic market in Portugal." Cuadernos de Música Iberoamericana 36 (December 19, 2023): 17–37. http://dx.doi.org/10.5209/cmib.88444.

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My article strives to study phonography in Portugal between the 1900 recording sessions for The Gramophone Company and the company’s first significant Portuguese catalogue, printed in December 1908. I aim to trace the transformations undertaken in the discs and repertoires along with their segmentation during the first decade of Portuguese phonography, with the establishment of a phonographic market in the country.

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39

Dankner, Laura, John Harvith, and Susan Edwards Harvith. "Edison, Musicians, and the Phonograph: A Century in Retrospect." Notes 46, no. 3 (March 1990): 642. http://dx.doi.org/10.2307/941439.

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40

Weiss, Allen S., John Harvith, and Susan Edwards Harvith. "Edison, Musicians, and the Phonograph: A Century in Retrospect." SubStance 21, no. 2 (1992): 127. http://dx.doi.org/10.2307/3684911.

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41

Epstein, Dena J., John Harvith, and Susan Edwards Harvith. "Edison, Musicians, and the Phonograph: A Century in Retrospect." American Music 7, no. 1 (1989): 96. http://dx.doi.org/10.2307/3052057.

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42

Katz, Mark. "Making America More Musical through the Phonograph, 1900-1930." American Music 16, no. 4 (1998): 448. http://dx.doi.org/10.2307/3052289.

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43

Brice, Richard. "A New Decoder for CD-4 (Quadradisc) Phonograph Records." Journal of the Audio Engineering Society 67, no. 9 (September 21, 2019): 679–90. http://dx.doi.org/10.17743/jaes.2019.0016.

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44

Shikama, Shinsuke, and Hiroaki Mizuno. "Reproduction of Phonograph Record Sound using Digital Image Processing." IEEJ Transactions on Electronics, Information and Systems 133, no. 7 (2013): 1309–15. http://dx.doi.org/10.1541/ieejeiss.133.1309.

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45

Bearman, C. J. "Percy Grainger, the Phonograph, and the Folk Song Society." Music and Letters 84, no. 3 (August 1, 2003): 434–55. http://dx.doi.org/10.1093/ml/84.3.434.

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46

Bub, Stefan. "Phonograph und Grammophon bei Thomas Mann und Michel Leiris." KulturPoetik 8, no. 1 (April 2008): 60–70. http://dx.doi.org/10.13109/kult.2008.8.1.60.

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47

Joshi, G. N. "A concise history of the phonograph industry in India." Popular Music 7, no. 2 (May 1988): 147–56. http://dx.doi.org/10.1017/s0261143000002725.

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Though gramophones were imported in India before the beginning of the century, this was done privately by a few persons who were very rich and affluent. During their visits to Europe and other Western countries they would buy a gramophone machine for use at home because it was an attractive novelty and a handy medium of entertainment. In 1900 and for quite some time thereafter a gramophone was considered to be a show piece and a status symbol, as only the wealthy elite of the society could afford to possess it. Phonographs were commercially exploited in India only after the establishment of the office of the Mutoscope Biograph Company in Calcutta, on 7 July 1901, by one Mr J. Watson Harrod.

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48

Anderson, C. Roger. "Fifty years of stereo phonograph pickups: A capsule history." Journal of the Acoustical Society of America 77, no. 4 (April 1985): 1320–26. http://dx.doi.org/10.1121/1.392020.

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49

Case, Alex U. "Edison phonograph recording and reproduction in a concert hall." Journal of the Acoustical Society of America 127, no. 3 (March 2010): 1932. http://dx.doi.org/10.1121/1.3384855.

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50

Butler, Rebecca P. "Thomas Edison Speculates on the Uses of the Phonograph." TechTrends 56, no. 4 (July 2012): 8. http://dx.doi.org/10.1007/s11528-012-0579-z.

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