Academic literature on the topic 'Sound recording industry – History'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Sound recording industry – History.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Sound recording industry – History"
1
Gronow, Pekka. "Recording the History of Recording: A Retrospective of the Field." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 443–57. http://dx.doi.org/10.18352/hcm.565.
Full textAbstract:
The recording industry is now over 120 years old. During the first half of its existence, however, few archives documented or collected its products. Many early recordings have been lost, and discography, the documentation of historical recordings, has mainly been in the hands of private collectors. An emphasis on genre-based discographies such as jazz or opera has often left other areas of record production in the shade. Recent years have seen a growth of national sound collections with online catalogues and at least partial online access to content. While academic historians have been slow to approach the field, there has been outstanding new research on the history of the recording industry, particularly in the USA and UK. This has encouraged the development of new academic research on musical performance, based on historical sound recordings. The article discusses some recent works in this field.
2
Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.
Full textAbstract:
Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.
3
Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
Full textAbstract:
During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
4
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.
Full textAbstract:
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.
5
Horning, Susan Schmidt. "Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919 (review)." Technology and Culture 47, no. 3 (2006): 651–53. http://dx.doi.org/10.1353/tech.2006.0181.
Full text
6
Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history." Organised Sound 22, no. 2 (July 12, 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.
Full textAbstract:
The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.
7
Scales, Rebecca P. "Subversive Sound: Transnational Radio, Arabic Recordings, and the Dangers of Listening in French Colonial Algeria, 1934–1939." Comparative Studies in Society and History 52, no. 2 (April 2010): 384–417. http://dx.doi.org/10.1017/s0010417510000083.
Full textAbstract:
In November of 1934, Algerian Governor General Jules Carde asked the Algiers Police Prefecture to investigate a rumor circulating through the French bureaucracy that “natives” in the Arab cafés (café maures) of the city were tuning in to biweekly Arabic broadcasts transmitted by an unspecified Italian radio station that featured “commentaries unfavorable to France” and “openly attacked France's Muslim policy.” As the governor of three overseas Frenchdépartements, Carde had already received notification that the airwaves over North Africa were becoming dangerous. A few months earlier, Jean Berthoin, the director of national security, or Sûreté, in France's Interior Ministry, warned regional prefects, “In a number of cities a large portion of the radio-electric industry—sales and the construction of devices—is in the hands of foreigners.” Berthoin feared that the dominance of France's radio-electric market by large, multinational firms would allow enemy agents to mask radio transmitters beneath the cover of radio sales and report clandestinely on troop maneuvers and defense preparations. He therefore instructed prefects to begin “discreet investigations” into the civil status, political affiliation, and nationality of radio merchants and their personnel. While ostensibly directed at metropolitan prefects, these Sûreté directives resonated in Algeria—a strategic periphery of “Greater France” and home to a sizeable European population of German and Italian descent and to multiple garrisons of France's indigenous-based African Army (Armée d'Afrique). By 1935, rumors about radio espionage and subversive auditory propaganda circulating through the Algerian colonial bureaucracy compelled Governor Carde to construct a colony-wide surveillance web to monitor radio sales, investigate Algerian listening habits, and assess the effects of radio propaganda on the “native mentality.”
8
Ovsiannikov, Viacheslav. "Principles of microphone sound recording in the context of the creative direction of sound recording." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 124–29. http://dx.doi.org/10.32461/2226-2180.39.2021.238705.
Full textAbstract:
The purpose of the article is to characterize the principles of sound recording with microphones in the context of the acoustic spatial features of concert halls, which are an important component in positioning the activities and creative directions of "purism", "individualism" and "realism" in sound engineering. The methodology consists of the use of analytical, historical, and cultural methods, which made it possible to identify and characterize the technological foundations of sound recording using the example of sound engineers. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science the principles of microphone sound recording in the context of acoustic spatial features and creative directions of sound engineering "purism", "individualism" and "realism" were defined and characterized. Conclusions. In the work, the data on the spectral response of the frequency range, the stereophonic effect, musical and timbre balance, and the spatial impression of the acoustics of concert halls were determined. The principles of application of multi-microphone technique in instrumental, orchestral, and rock music are revealed; outlined the creative potential of the directions "purism", "individualism" and "realism". in sound engineering. In terms of current cinematic trends and contemporary popular music culture, we hear and become accustomed to exaggeratedly colorful and rich, often "electronic" sound. Since the listener is the ultimate link in the entire recording industry, it is necessary to recognize landmarks in sound engineering aimed at the tastes of the majority.
9
Ward, Brian. "Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919. ByTim Brooks. Champaign: University of Illinois Press, 2004. x + 634 pp. Index, notes, bibliography, appendix, illustrations, photographs, tables. Cloth, $65.00. ISBN: 0-252-02850-3." Business History Review 78, no. 4 (2004): 741–44. http://dx.doi.org/10.2307/25096960.
Full text
10
Hoover, K. Anthony. "Sound isolation of recording studios." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A104. http://dx.doi.org/10.1121/10.0015693.
Full textAbstract:
Sound isolation to and from quality recording studios is critical to their success. Proper design based on informed understanding of both airborne and structureborne transmission is essential, because retrofitting isolation can be challenging or even prohibitive, and because one-size-fits-all recommendations may be unsatisfactory. This presentation will review some issues and evaluation methods that help to guide successful, cost-effective designs. Also discussed will be examples including a world-class studio with remarkable history that was encroached by an expanded loud facility, floated constructions that were not actually floated, and an approach that has helped to convince clients of the level of required isolation.
Dissertations / Theses on the topic "Sound recording industry – History"
1
Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
Full textAbstract:
During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
2
Arvidsson, Kjell. "Skivbolag i Sverige." Doctoral thesis, Göteborg Handelshögskolan vid Göteborgs Univ, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=016515417&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
Full text
3
Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
Full textAbstract:
This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
4
Papizzo, Brian O'Shea (Brian Thomas O'Shea). "Towards a political economy of the Canadian recording industry." Ottawa, 1993.
Find full text
5
Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.
Full textAbstract:
Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
6
Goh, Man-fat Joseph. "Music retailing in Hong Kong /." [Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13731105.
Full text
7
Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.
Full text
8
Choi, Ka-fai. "Some economics of the classical music record industry." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31938073.
Full text
9
Western, Thomas James. "National phonography : field recording and sound archiving in Postwar Britain." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/33113.
Full textAbstract:
Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like. National phonography was an institutional and technological network; behind the encounter between recordist and recorded lies a complex and variegated mess of cultural politics, microphones, mediality, sonic aesthetics, energy policies, commercial interests, and music formats. The thesis is structured around a series of historical case studies. The first study traces the emergence of Britain's field recording moment, connecting it to the waning of empire, and focusing on sonic aspects of the 1951 Festival of Britain and the recording policies of national and international folk music organisations. The second study listens to the founding of a sound archive at the University of Edinburgh, also in 1951, asking how sound was used in constructing Scotland as an object of study, stockpiling the nation through the technologies and ideologies of preservation. The third study tracks how the BBC used fieldwork - particularly through its Folk Music and Dialect Recording Scheme (1952-57) - as part of an effort to secure the aural border. The fourth study tells the story of The Columbia World Library of Folk and Primitive Music, produced by Alan Lomax while based in Britain and released in 1955. Here, recordings were presented in fragments as nations were written onto long-playing records, and the project is discussed as a museum of voice. The final chapter shifts perspective to the online circulation of these field recordings. It asks what an online sound archive is, hearing how recordings compress multiple agencies which continue to unfold on playback, and exploring the archival silences built into sonic productions of nations. Finally, online archives are considered as heritage sites, raising questions about whose nation is produced by national phonography. This thesis brings together perspectives from sound studies and ethnomusicology; and contributes to conversations on the history of ethnomusicology in Europe, the politics of technology, ontologies of sound archives, and theories of recorded sound and musical nationalisms.
10
Choi, Ka-fai, and 蔡家輝. "Some economics of the classical music record industry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31938073.
Full textBooks on the topic "Sound recording industry – History"
1
Gronow, Pekka. An international history of the recording industry. London: Cassell, 1998.
Find full text
2
Mori, Yoshihisa. Onkyō gijutsushi: Oto no kiroku no rekishi. Tōkyō: Tōkyō Geijutsu Daigaku Shuppankai, 2011.
Find full text
3
Tou kyriou tou hē phōnē: Historia tēs diskographias. Athēna: Metronomos, 2010.
Find full text
4
Simon, Géza Gábor. Magyar hanglemeztörténet: (100 éves a magyar hanglemez, 1908-2008). Budapest: Jazz Oktatási és Kutatási Alapítvány, 2008.
Find full text
5
Recording the 'thirties: The evolution of the American recording industry, 1930-39. Denver, CO: Mainspring Press, 2011.
Find full text
6
Thérien, Robert. L' histoire de l'enregistrement sonore au Québec et dans le monde, 1878-1950. [Sainte-Foy, Québec]: Presses du l'Université Laval, 2003.
Find full text
7
"His Master's Voice": Die Geschichte der Schallplatte. Berlin: Parthas, 2011.
Find full text
8
Recording history: The British record industry, 1888-1931. Lanham, Md: Scarecrow Press, 2013.
Find full text
9
L'invention du disque 1877-1949: Genèse de l'usage des médias musicaux contemporains. Paris: Archives contemporaines, 2009.
Find full text
10
Recording the 'twenties: The evolution of the American recording industry, 1920-29. Denver, CO: Mainspring Press, 2008.
Find full textBook chapters on the topic "Sound recording industry – History"
1
Pavan, Gianni, Gregory Budney, Holger Klinck, Hervé Glotin, Dena J. Clink, and Jeanette A. Thomas. "History of Sound Recording and Analysis Equipment." In Exploring Animal Behavior Through Sound: Volume 1, 1–36. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97540-1_1.
Full textAbstract:
AbstractOver the last 100 years, there has been an explosion of research in the field of animal bioacoustics. These changes have been facilitated by technological advances, decrease in size and cost of recording equipment, increased battery life and data storage capabilities, the transition from analog-to-digital recorders, and the development of sound analysis software. Acousticians can now study the airborne and underwater sounds from vocal species across the globe at temporal and spatial scales that were not previously feasible and often in the absence of human observers. Many advances in the field of bioacoustics were enabled by equipment initially developed for the military, professional musicians, and radio, TV, and film industries. This chapter reviews the history of the development of sound recorders, transducers (i.e., microphones and hydrophones), and signal processing hardware and software used in animal bioacoustics research. Microphones and hydrophones can be used as a single sensor or as an array of elements facilitating the localization of sound sources. Analog recorders, which relied on magnetic tape, have been replaced with digital recorders; acoustic data was initially stored on tapes, but is now stored on optical discs, hard drives, and/or solid-state memories. Recently, tablets and smartphones have become popular recording and analysis devices. With these advances, it has never been easier, or more cost-efficient, to study the sounds of the world.
2
Sun, Hyojung. "The History of Technological Developments in the Recording Industry." In Digital Revolution Tamed, 29–96. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93022-0_3.
Full text
3
Leška, Rudolf. "Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution." In Springer Series in Media Industries, 273–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_16.
Full textAbstract:
Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the rights for cross-border use online or when phonogram producers and performers are involved, the licensing situation becomes messy which introduces significant uncertainty into the market. Instead of advocating state regulation, the author pleads for the development of cross-border industry standards and procedures, good practices and reciprocal agreements between CMOs to be developed in a collaboration of global organizations representing rightsholders.
4
Siefert, Marsha. "Entrepreneurial Tapists." In Music and Democracy, 19–60. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-002.
Full textAbstract:
This article takes a participatory approach to the reproduction of live music performance by looking at the history of »bootleg« sound recordings in two formations during the 1960s and 1970s. The first builds on the history of how opera lovers, mostly in concert and sometimes in conflict with formal opera institutions and commercial recording companies, created their own community for reproduced live opera performances through surreptitious live recording, record producing, distributing, cataloging, trading, and collecting. Marsha Siefert relates these activities to the world of magnitizdat, the live music recordings in the U.S.S.R. that were also reproduced and circulated through trusted networks. The aim of looking at both of these twentieth-century forms of music reproduction is to ask questions about how music listeners responded to perceived limitations of formal music industries by creating participatory networks that identified, reproduced, and circulated recorded music that corresponded to their preferences and ideas about authenticity, aesthetics, and direct experience before the internet age.
5
Ó Briain, Lonán. "Introduction." In Voices of Vietnam, 1–20. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197558232.003.0001.
Full textAbstract:
This introduction delineates the three main pillars of the book. Red music is defined within the context of the Vietnamese music industry and compared with propaganda music in other communist countries. The concept of a continuous revolution is described through reference to literature from political thinkers in Vietnam and the wider communist world. Radio and the voice are assessed as key themes in recent anthropological studies. This is followed by a review of the social history of sound reproduction, which is considered in the fields of ethnomusicology, sound studies, radio studies, and related fields. After outlining the research methodology (ethnographic and archival approaches) and structure of the book, the introduction concludes with notes on language, recordings, and musical transcriptions.
6
"4 A short history of analogue recording." In Sound and Recording, 175–202. Routledge, 2012. http://dx.doi.org/10.4324/9780080468501-14.
Full text
7
Brocken, Mike. "Phillips’ Sound Recording Services." In The Routledge Companion to Popular Music History and Heritage, 388–97. Routledge, 2018. http://dx.doi.org/10.4324/9781315299310-38.
Full text
8
Reali, Christopher M. "“Land of 1000 Dances”." In Music and Mystique in Muscle Shoals, 113–45. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044519.003.0005.
Full textAbstract:
This chapter examines the real and imagined South in relationship to the Muscle Shoals music industry by addressing how cultural outsiders like Jerry Wexler perpetuated stereotypes that fed the Muscle Shoals mystique. Dissemination of the Muscle Shoals mystique occurred through news articles, 45 rpm labels, and recordings made by Jimmy Cliff, the Rolling Stones, and Traffic. The chapter provides a close reading of the cumulative events that led to Paul Simon's arrival in Muscle Shoals. Positioning the songs recorded in the Shoals during the 1960s and early 1970s within a larger cultural context that includes the history, formation, and promotion of regional identity reveals how Muscle Shoals came to represent, for many, the continuation of an imagined South manifested in sound.
9
"The Recording Industry." In The History of Live Music in Britain, Volume I: 1950-1967, 153–78. Routledge, 2016. http://dx.doi.org/10.4324/9781315557182-12.
Full text
10
"Copyright in Sound Recordings and Songs." In The Music Business and Recording Industry, 57–80. Routledge, 2004. http://dx.doi.org/10.4324/9780203957745-8.
Full textConference papers on the topic "Sound recording industry – History"
1
Neyrinck, Jorijn, and Ellen Janssens. "Documenting ICH in sound and image." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.04.
Full textAbstract:
Documentation of intangible cultural heritage (ICH) poses a series of new questions and challenges within the heritage practice. How do we document a heritage that is alive, through the heads, hands and practices of people? Heritage that is neither tangible nor fixed but intangible and dynamic. Heritage that lives within a community, which by its active practice also acts to transmit and realize a future for this living heritage. Such living heritage processes require different, explicitly participatory and dynamic approaches for documentation – for which audiovisual forms of recording seem appropriate. This article unravels the conceptual confusion between different ‘intangible’ heritage practices and then looks at examples of practice in Flanders and in existing related research methods such as visual anthropology and oral history.
2
Najafi, Bijan, Robert P. Kassawara, Francisco Joglar-Biloch, and Yehia Khalil. "History of Fire Events in the U.S. Commercial Nuclear Industry." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22587.
Full textAbstract:
Over the past decade, interest in performance-based fire protection has increased within the nuclear industry. In support of this growing interest, in 1997 the Electric Power Research Institute (EPRI) developed a long-range plan to develop/improve data and tools needed to support Risk-Informed/Performance-Based fire protection. This plan calls for continued improvement in collection and use of information obtained from fire events at nuclear plants. The data collection process has the objectives of improving the insights gained from such data and reducing the uncertainty in fire risk and fire modeling methods in order to make them a more reliable basis for performance based fire protection programs. In keeping with these objectives, EPRI continues to collect, review and analyze fire events in support of the nuclear industry. EPRI collects these records in cooperation with the Nuclear Electric Insurance Limited (NEIL), by compiling public fire event reports and by direct solicitation of U.S. nuclear facilities. EPRI fire data collection project is based on the principle that the understanding of history is one of the cornerstones of improving fire protection technology and practice. Therefore, the goal has been to develop and maintain a comprehensive database of fire events with flexibility to support various aspects of fire protection engineering. With more than 1850 fire records over a period of three decades and 2400 reactor years, this is the most comprehensive database of nuclear power industry fire events in existence today. In general, the frequency of fires in the U.S. commercial nuclear industry remains constant. In few cases, e.g., transient fires and fires in BWR offgas/recombiner systems, where either increasing or decreasing trends are observed, these trends tend to slow after 1980. The key issues in improving quality of the data remain to be consistency of the recording and reporting of fire events and difficulties in collection of records. EPRI has made significant progress towards improving the quality of the fire events data through use of multiple collection methods as well as its review and verification. To date EPRI has used this data to develop a generic fire ignition frequency model for U.S. nuclear power industry (Ref. 1, 4 and 5) as well as to support other models in support of EPRI Fire Risk Methods such as a cable fire manual suppression model. EPRI will continue its effort to collect and analyze operating data to support risk informed/performance based fire safety engineering, including collection and analysis of impairment data for fire protection systems and features. This paper provides details on the collection and application of fire events to risk informed/performance based fire protection. The paper also provides valuable insights into improving both collection and use of fire events data.
3
Mitsuhashi, Yoshinobu. "Standardization Activities for Optical Disks in Japan." In Optical Data Storage. Washington, D.C.: Optica Publishing Group, 1985. http://dx.doi.org/10.1364/ods.1985.thcc1.
Full textAbstract:
In the optoelecrronic industry, optical disks are considered one of the most promising technologies following optical communication. In recent years, technical development of the optical disk has been startling, with the marketing of the video disk (VD) and the digital audio disk (CD) followed by the document file and the code data disks, all of which illustrate its increasing variety. The international standards for VD and CD have been almost completed by the IEC / TC 60 (International Electrotechnical Commission, Technical Committee 60A: Sound Recording, 60B : Video Recording).1) International standardization of Optical Digital Data Disks (OD3) is being achieved by the activities in the ISO / TC 97 / SC 23 (International Organization for Standardization, Technical Committee 97 : Information Processing Systems, Sub-Committee 23: OD3).2)
4
Schmid, Andreas, and Naoki Yamada. "Spray Combustion Chamber: History and Future of a Unique Test Facility." In ILASS2017 - 28th European Conference on Liquid Atomization and Spray Systems. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/ilass2017.2017.4734.
Full textAbstract:
Large marine two-stroke diesel engines still represent the major propulsion system for merchant shipping. Withsteadily increasing transport demands, rising operational costs and stricter environmental legislations, the global marine shipping industry finds itself facing the challenge to future-proof its fleet. In order to comply with international maritime organizations emission standards (TIER II and TIER III), highly sophisticated and flexible combustion systems are demanded. With the help of spray and combustion research such systems can be developed and continuously improved. A highly valuable tool to investigate sprays of large marine diesel injectors under engine relevant conditions is the Spray Combustion Chamber (SCC). This paper reviews the history of the SCC, shows todays possibilities and looks into the near future of research involving large marine two-stroke engines. The SCC was built during the first Hercules project (I.P.-HERCULES, WP5, [1]). The initial setup focused on fundamental investigations comprising the application of highly flexible thermodynamic conditions. During follow-up projects (Hercules beta [2] and Hercules C [3]) the SCC was continuously developed, and a variety of influences on spray and combustion were experimentally assessed. The initial SCC design focused on maximum optical access as well as the applicability of a wide span of optical techniques. Single-hole nozzles were utilized to generate reference data to optimize existing spray and combustion simulation models. Different fuel types and fuel qualities were investigated and effects of the in-nozzle flow on spray morphology was identified. A sound set of results was achieved and published in several (internal and public) reports. Over the years, spray research at Winterthur Gas& Diesel has turned its focus from basic spray investigations to more detailed cavitation and in-nozzle flow examinations [4], [5]. Future research on the SCC will focus on investigations of more engine related topics, as, for example, the application of a fuel flexible injection system as is currently developed in the HERCULES-2 project [6]. Significant design modifications of the initial setup were necessary, as the injector positions and therefore exposure of the spray relative to the swirl were not fully congruent with real engine conditions. As a consequence, the new setup includes some minor drawbacks, e.g. the optical access of the nozzle tip is only visible from one side of the chamber. This means that line-of-sight methods are currently only possible at selected positions in the centre of the chamber. Therefore, a new setup was installed to illuminate the spray, consisting of a high speed, high energy laser (100 kHz, 100 W) and special optics. In order to obtain enhanced optical access, tangential windows were re- arranged, now pointing directly at the nozzle. With this setup, a first set of images was realized, showing a realspray as it occurs in large marine two-stroke diesel engines.DOI: http://dx.doi.org/10.4995/ILASS2017.2017.4734
5
Ünalmis, Ö. Haldun. "Downhole Three-Phase Flow Measurement Using Sound Speed Measured by Local or Distributed Acoustic Sensing." In SPE Annual Technical Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/210072-ms.
Full textAbstract:
Abstract In-well multiphase flow measurement continues to be a challenging task in the oil and gas industry. One promising technology to achieve this goal is the distributed acoustic sensing (DAS) system deployed downhole along a fiber. A DAS system is usually capable of measuring speed of sound (SoS) and, depending on the type of application and how the system is installed/configured, it may also measure flow velocity. In its current state, the DAS technology is still not fully explored in multiphase flow measurement for reasons including but not limited to the lack of flow algorithms and methodologies that can use measurements in a combinative and coherent approach. The current work introduces a game-changing methodology in applying the DAS and other sound measuring optical or electronic technologies to measure 3-phase flow. The 3-phase flow measurement methodology is based on the measurements of SoS at different locations along the well where the pressure is greater than the bubble-point pressure (P>Pb) at the first location and P<Pb at the second location. A bulk velocity measurement is also necessary at one of the locations, preferably at the second location. The minimum required measurements to resolve 3-phase flow rates are SoS at both locations (SoS1 and SoS2), pressure/temperature (P/T) values at both locations (P1, P2, T1, T2), and the bulk velocity measurement at the second location (V2). Using these measurements, phase flow rate calculations in a 3-phase flow are possible. A Lego-like approach may be used with various sensor technologies to obtain these required measurements which are then used in a consecutive manner in 2-phase and 3-phase solution domains obtained using Wood and Korteweg-Lamb equations. The methodology is fully explained and the analytical solutions for 3-phase flow measurement is explicitly provided in a step-by-step approach. This approach provides significant advantages over the traditional methods. For example, SoS measurements along the well at multiple locations by using the same sensor technology or by combining different sensor technologies make this methodology highly flexible and applicable to custom-fit solutions. The method is independent of the sensor type as long as the sensors measure SoS, though the ideal systems that can adopt it easily and efficiently are DAS and optical flowmeters (OFMs). Additionally, a developing case history involving downhole OFMs installed in a North Sea field-wide application is discussed. The methodology may be implemented for a special case in which SoS is measured at the same location but at different times. This new methodology in measuring downhole 3-phase flow furthers the understanding of downhole multiphase flow measurement. It can be implemented in existing wells with optical infrastructure by adding an appropriate topside optoelectronics system when needed at later phases of production.
6
Smith, Clayton T., Peter den Boer, and Lonnie Corley. "The Use of TOFD for Enhancement of HDPE Pipe Fusion Inspection." In 17th International Conference on Nuclear Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/icone17-75997.
Full textAbstract:
HDPE piping has been historically used in place of steels in petrochemical, power, and mining industries to mitigate corrosion and erosion issues. Additionally as HDPE pipe is resistant to Microbiologically Influenced Corrosion (MIC) and fouling, it appears to be a perfect fit for nuclear safety related cooling water applications. To this end, HDPE was first used in an ASME Class 3 emergency service water system, in 2005 at Sizewell B, operated by British Energy, in the United Kingdom. The long successful history of non-nuclear HDPE pipe operating experience along with the successful operation at Sizewell B and other non-safety related nuclear applications has now resulted in the first use of HDPE pipe for a safety related class 3 application in the United States nuclear industry at the AmerenUE-Callaway nuclear power plant. The application of nuclear quality assurance requirements coupled with stringent procurement, manufacturing and fabrication controls create a reasonable assurance that the production fusion joint should be sound; using Ultrasonic Time of Flight Diffraction (TOFD) inspection of the fusion joints is a volumetric, nondestructive examination tool available to provide additional assurance of the fusion joint integrity.
7
Abdelaal, Khaled, Ken Atere, Keith LeRoy, Aaron Eddy, and Russell Smith. "Holistic Real-Time Drilling Parameters Optimization Delivers Best-in-Class Drilling Performance and Preserves Bit Condition - A Case History from an Integrated Project in the Middle East." In SPE Canadian Energy Technology Conference. SPE, 2022. http://dx.doi.org/10.2118/208958-ms.
Full textAbstract:
Abstract After drilling in the Gulf area of Middle East for approximately nine months, the operation’s project team struggled to find a consistent and repeatable roadmap for significant rate of penetration (ROP) improvements. The team was relying on the driller to manually control the ROP, weight on bit (WOB), differential pressure, pump pressure, and torque. Regardless of the driller’s experience, it is difficult for a single person to successfully monitor and adjust for multiple and continuously changing variables in real time. Extreme variation and lack of control on drilling parameters (such as WOB, torque, and differential pressure) prevented repeatable ROP improvements, despite having a sound drilling plan. To solve this problem, the team tasked a third party to 1) deploy its electronic drilling recorder (EDR) to improve data quality, 2) integrate its multi-parameter DAS™ system into the rig’s programmable logic controls (PLC) system, and 3) deploy drilling optimization software solutions in real time. The overall objective was to build a decision-supporting tool to overcome the main ROP limiters through proper identification and mitigation, thus yielding higher ROP and creating newly optimized drilling parameters for future wells. A pilot program consisting of two rigs and six wells per rig (12 wells in total) was executed utilizing this new approach. Over each section of each well, the team followed a traditional continuous improvement cycle of "Identify– Plan – Execute – Review". The EDR was able to accurately identify and record the drilling control limits (such as for ROP, WOB, torque, or differential pressure). The DAS system was also able to demonstrate improved control of WOB, ROP and, torque limits, and target differential pressures. Delivering this information in real time encouraged conversations around modifications to the existing well plan. During post-well analysis, the data allowed the optimization team to clearly identify the limiter of each hole section for changes in future well planning. A flexible dashboard platform was utilized to assist the optimization team by developing enhanced graphics to improve the visibility and accuracy of the real-time performance monitoring. These dashboards target critical operations and allow more data to be taken into consideration, thus providing a more holistic and structured decision-making process. The pilot program showed measurable improvement in several areas. Overall, on-bottom ROP improved by 10.5%, shoe track drill-out times were reduced by 31%, and physical inspections showed significant reductions in bit wear. Additionally, the higher quality of data recording contributed to a noticeable improvement on processing multiple data-analytics modules. This paper describes the challenges and step-by-step chronology of solutions deployed to achieve continuous improvement and to maximize ROP by effectively focusing on process execution. The knowledge required to execute a fit-for-purpose drilling optimization plan was the objective to the solution described in this work. This paper also provides a holistic view of the entire drilling system, along with insight into drilling parameters that can improve efficiency from planning to the execution phase.
8
Hordijk, Ad Pijnacker, Jeroen Zanting, Rien Kornalijnslijper, and Robert Kuik. "The Risk Assessment Module PSL as an Obvious Part of an Integral Pipeline (Integrity) Management System." In 2004 International Pipeline Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ipc2004-0305.
Full textAbstract:
This paper will give an overview of the history of PiMS and the new developments within Gastransport Services regarding the implementation of an integral Pipeline (integrity) Management System and especially and also in more detail the implementation, testing and verifying of a Risk Assessment tool, as an obvious part of PiMS. The design of the pipeline network in the Netherlands was based on the ASME B31G guidelines, as a sound engineering practice. The construction started early 1960 in a very rapid tempo. The control and maintenance in those years was executed on a paper based system with steady state frequencies of measurements uniformly distributed all over the network. With the nowadays databases and computer systems all kind of analyses beyond the capacity of a pipeline engineer can be carried out. These analyses have been made possible by outstanding Research of different companies, Joint Industry Programs and international investigations executed by a variety of different well known groups. At that time however an integration of all the data and stand-alone models into one single (PiMS-)system with one or more linked databases and controlled by one process control system was not a major option due to a lack of IT-possibilities and management objectives. Due to very fast developments in IT, recent incidents in the industry all over the world, the change in management objectives to have a faster and a better control over the pipeline safety, reliability and associating costs a strong desire for a PiMS-process control system was born.
9
Yellowlees, S. F., and C. T. Watson. "New UK Research Programme on Fracture Mechanics." In ASME 2006 Pressure Vessels and Piping/ICPVT-11 Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/pvp2006-icpvt-11-93559.
Full textAbstract:
A new long-term research programme has been launched in the UK. This involves Rolls-Royce plc and Serco Assurance, supported by UK industry and academia. A significant part of the programme is aimed at improving methodologies for assessing the significance of defects in structures, either by deriving new methodologies, further developing existing methodologies, and/or providing validation data. Current work packages include consideration of: • The treatment of secondary stresses; • Flaw characterisation; • Load history effects; • The interaction between ductile tearing and growth by other mechanisms; • Constraint. As these work packages mature, other topics may be considered such as: • Assessment methodologies for displacement/strain controlled loading; • The treatment of structures operating in or close to the brittle to ductile transition region; • The treatment of material interfaces; • Leak before break; • Crack arrest. The work is being undertaken by a combination of computational and experimental studies. The benefits of this work are intended to be the provision of more realistic assessment methodologies. In many instances this will be achieved by first validating the assumptions in current methodologies to provide a sound basis for the development of future methodologies. This paper presents an overview of the fracture mechanics research work being undertaken and provides examples of the outcome of some of the studies obtained to-date.
10
Cole, Rachel, Alexis Hernandez, Bryan Spencer, Rick Cully, and Alyssa Franklin. "Digital Pressure Testing Software Improves Safety and Efficiency When Applied to Well Intervention Campaign." In SPE/ICoTA Well Intervention Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/209012-ms.
Full textAbstract:
Abstract Well intervention requires reliable pressure data and real-time monitoring of multiple annuli simultaneously to confirm appropriate pressure response of actuated valves and components. The current industry standard uses traditional monitoring methods which involve reading digital crystal gauges and manually recording the values at increments for interpretation. This paper presents a case study where the operator reduced the probability of human error, and improved assurance and safety by utilizing a digital solution during an intervention campaign. During operations, personnel used digital pressure testing software to monitor annulus pressures while performing acid stimulation pressure pumping operations and verified test outcomes during additional intervention operations. To conduct these tests, pressure transducers were tied into the locations where a digital gauge would normally be located, and cables connected to a data acquisition unit for interpretation by operations personnel. The software monitored and analyzed the data in real time to validate the operator's criteria, and all real-time data was able to be viewed both on-site and remotely. When tests completed, reports were auto generated and stored for ease of access. The process described above resulted in a safer testing environment by utilizing transducer cables and a data acquisition unit, allowing personnel to remain a safe distance away, as opposed to the traditional method of taking manual readings near pressurized areas. High resolution digital data was constantly monitored, instead of taking readings in increments, allowing for the improved visualization of annulus or tubing pressures in real time and improving the efficiency of operations. This on-site and remote real-time visualization allowed for better communication and interpretation of appropriate pressure response when shifting sleeves, equalizing pressures, or performing coiled tubing cleanouts. When all intervention work was completed, a comprehensive end of well report was generated to provide a record of all operations and reduce communication errors during handover or subsequent operations throughout the well lifecycle. This digital software solution and equipment tie in used for intervention operations provides a safer environment, more accountability, improved decision making, and more efficient communication in handover. The ability for real time monitoring of pressure response improves participation and collaboration between personnel both on-site and in remote locations. Comprehensive documentation provides an auditable history of events which can be used to improve future operations and promote best practices.
Reports on the topic "Sound recording industry – History"
1
Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
Full textAbstract:
The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.