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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.
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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.
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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.
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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.
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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.
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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.
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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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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.
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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.
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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.
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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.
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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.”
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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.
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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.
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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.
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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.
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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.
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Van Nort, Doug. "Multidimensional Scratching, Sound Shaping and Triple Point." Leonardo Music Journal 20 (December 2010): 17–18. http://dx.doi.org/10.1162/lmj_a_00005.
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The author discusses performance utilizing his greis software system, which is built around the principle of a “scrubbing” interaction with roots in the recording industry and the paradigm of scrubbing tape across a magnetic head.
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Davies, Anthony C. "Stereo Sound Recording and Reproduction ? Remembering the History [sp History]." IEEE Signal Processing Magazine 32, no. 5 (September 2015): 14–16. http://dx.doi.org/10.1109/msp.2015.2440191.
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Whitford, Steve. "The ‘Truth of Sound’: Exploring the effects of an immersive location sound recording methodology within realist filmmaking." Soundtrack 13, no. 1 (October 1, 2022): 61–71. http://dx.doi.org/10.1386/ts_00016_1.
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The art of location-based sound recording specifically has been a neglected area of academic research. I seek to address this by drawing critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. I show how this art continues to be central to the creative process of production, in driving the narrative and shaping the text’s influence, within the pro-filmic space. I hypothesize that the realist sound recordist’s role has an authorial voice and a creative agency. I seek to reimagine and develop an ontological redefinition of location sound recording by proposing that a reinvigoration of the realist genre – unscripted in particular – can be achieved by connecting the storytelling skills in recording for single camera with the new opportunities afforded by the emerging technologies of immersive field sound recording – ambisonics being a vital part of that development. I argue that deploying an ambisonics-centred location sound recording methodology, fused with the existing art of recording actuality sound will offer new creative opportunities for realist makers and audiences, now presented with an exciting ability to experience a sense of the geographical place and physical event that immersive audio delivers.
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Chavez, Maria, and Kristina Warren. "A Sound Artist’s Breakdown of Field Recording over History." Organised Sound 27, no. 1 (April 2022): 41–43. http://dx.doi.org/10.1017/s1355771822000218.
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The conceptual sound artist, turntablist, and curator Maria Chavez muses about storing and accessing sounds. Building on Ursula Le Guin’s concept of the carrier bag, she describes four eras of sound recording and containment.
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DeLaurenti, Christopher. "Imperfect Sound Forever." Resonance 2, no. 2 (2021): 125–67. http://dx.doi.org/10.1525/res.2021.2.2.125.
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What is phonography? In this essay, Christopher DeLaurenti, a phonographer with three decades of experience, maps an axiomatic 13-lesson pedagogy through an abbreviated history of field recording, from Jesse Walter Fewkes in 1890 to Tony Schwartz in the early 1960s. This paper surveys various meanings and uses of the term phonography from a text published in 1701 to the formation in 2000 of the phonography listserv, an online community of makers of field recordings. The author, himself an early member of the phonography listserv, discusses three traits to define phonography as a community in the early 2000s: inexpensive recording equipment; a community of knowledge; and the “easy fidelity” made possible by portable and lightweight Digital Audio Tape (DAT) and MiniDisc (MD) recorders. The author contrasts the traits of phonography with elements of soundscape composition as articulated by Barry Truax, Hildegard Westerkamp, and Andra McCartney. The paper concludes by proposing possible elements of post-phonography, including remote control recording, the possibility of voice print identification, and the generation of unimagined data.
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DeVincentis, Patrice. "The rise of sound girls: Expect, empower, energize, educate." Journal of Popular Music Education 6, no. 2 (July 1, 2022): 267–74. http://dx.doi.org/10.1386/jpme_00089_1.
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The fact that fields of music production and recording arts have been noticeably male-dominated has not gone unnoticed. Progress for women in these fields has been slow and difficult at best. Current statistics demonstrate that the change in gender percentages over the past decade has been insignificant. The lack of female professionals in the music and audio fields has been the subject of studies for over 40 years. Females interested in the audio industry have often faced with adversity and challenges. This article examines real-world experiences of females in the audio industry and considers what educators can do to foster greater gender equality.
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Casadei, Delia. "Sound Evidence, 1969: Recording a Milanese Riot." Representations 147, no. 1 (2019): 26–58. http://dx.doi.org/10.1525/rep.2019.147.1.26.
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On 19 November 1969, two members of Milan’s neofolk music collective the Nuovo Canzoniere Italiano (NCI) armed themselves with portable sound recorders and wandered amongst a crowd of demonstrators near Milan’s Duomo. The resulting LP, I fatti di Milano (The events of Milan), is a puzzling hybrid of artistic and political intent. As the sleeve note explains, the demonstration degenerated into a riot and resulted in the violent—and to this day legally unresolved—death of a police officer. The NCI members presented the recording as sonic evidence of the day’s events, hoping to help the case of the demonstrators accused of murdering the policeman. The record thus constitutes not only a swerve from “music” to “sound” in the collective’s output but also a move from aesthetic artifact to sound document, indeed, to putative forensic evidence. And yet, the evidence grows inexorably murkier with every listening. This essay homes in on the contradiction between I fatti di Milano’s declared purpose and the sound recording it mobilizes toward that end. Drawing on both sound studies and Italian political philosophy, the essay argues that the record embodies and actively stages idiosyncratic but highly contemporary relationships between music and soundscape, between sound event and its technological reproduction, and ultimately between political event and the act of writing history.
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Timmermans, Matthew. "Opera, Sound Recording, and Critical Race Theory." Current Musicology 108 (November 1, 2021): 1–25. http://dx.doi.org/10.52214/cm.v108i.8811.
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This review essay considers the relationships among opera, sound recording, and critical race theory, and explores them at a moment when these fields are beginning to converge. One of my concerns will be the recent and ground-breaking studies and collections on opera and race by Naomi Adele André (2017, 2019), Kira Thurman (2012, 2019), Pamela Karantonis and Dylan Robinson (2011), and Mary I. Ingraham, Joseph K. So and Roy Moodley (2016). Another will be the neglected history of opera and sound recording; notable scholars here include Karen Henson (2020), Robert Cannon (2014), and Richard Leppert (2015). Finally, I will focus on the thought-provoking analyses of race and sound by Alexander Weheliye (2005), Brian Ward (2003), Jennifer Lynn Stoever (2016) and Nina Sun Eidsheim (2019). There are obvious connections among these three bodies of scholarship, yet these connections have not yet been clearly identified and explored.
Although many scholars have come to embrace opera as a material and embodied phenomenon, the artform’s dissemination, analysis, and enjoyment through sound recording is still overlooked as a site of enquiry, especially its potential as a fertile site of inquiry about identity. To overlook the issue of identity in relation to recording is to perpetuate the belief that recordings are primarily documents of performance practice. It ignores the army of technicians who invisibly craft the acoustic object, many of whom are historically white and male. This review essay seeks to address this neglect and to suggest some ways in which the processes of making and consuming opera recordings is intimately related to whiteness and anti-Blackness—but also to Black possibility. In what follows, I cast a broad net, ranging widely and at times unexpectedly. I begin with some recent events in American musicology and in the New York operatic scene; then, turn to a consideration of some of the scholarship just mentioned; and finally conclude with a brief discussion of a specific recording, the Metropolitan Opera’s “live” sound recording of the 2019 production of Gershwin’s Porgy and Bess.
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LATHAM, CLARA HUNTER. "Listening to Modernism: New Books in the History of Sound." Contemporary European History 26, no. 2 (February 23, 2017): 385–95. http://dx.doi.org/10.1017/s0960777317000042.
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The rapid industrialisation and electrification that characterises the late nineteenth and early twentieth centuries involved the revolutionary and irreversible technologisation of sound. The ability to send sound great distances, through time and space, amplified the instability of sonic presence both inside and outside the body. Sound reproduction technologies such as gramophone and radio emphasise the questionable materiality of sound. Scholarship in the emerging field of sound studies has tended to focus on sound technologies that emerge in this period, promoting the axiom that the ear epitomises modern sensibility. Even before technological developments revolutionised sound, discourses surrounding the ear anticipated the collapse of scientific certainty that marks the modern age. Developments in sound technology can mask the severing of scientific measurement from musical aesthetics that coincided with the age of recording. If the study of sound in modernity has tended to focus on technological changes and bracket aesthetic questions, it is perhaps because the relationships among the science, technology and aesthetics of sound have not yet been adequately parsed.
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Alexander, Peter J. "Market Structure of the Domestic Music Recording Industry, 1890–1988." Historical Methods: A Journal of Quantitative and Interdisciplinary History 35, no. 3 (January 1, 2002): 129–32. http://dx.doi.org/10.1080/01615440209601203.
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Dobrianska, Lina. "Sound Recording of Lesya Ukrainka’s Voice: History of Research and Re- construction." Ethnomusic 17, no. 1 (2021): 9–41. http://dx.doi.org/10.33398/2523-4846-2021-17-1-9-41.
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Yakoupov, A. N. "MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)." Arts education and science 1, no. 2 (2020): 53–61. http://dx.doi.org/10.36871/hon.202002006.
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In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.
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Devine, Kyle. "Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction." Popular Music 32, no. 2 (May 2013): 159–76. http://dx.doi.org/10.1017/s0261143013000032.
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AbstractThe purpose of this paper is to provide some historical perspective on the so-called loudness war. Critics of the loudness war maintain that the average volume level of popular music recordings has increased dramatically since the proliferation of digital technology in the 1980s, and that this increase has had detrimental effects on sound quality and the listening experience. My point is not to weigh in on this debate, but to suggest that the issue of loudness in sound recording and playback can be traced back much earlier than the 1980s. In fact, loudness has been a source of pleasure, a target of criticism, and an engine of technological change since the very earliest days of commercial sound reproduction. Looking at the period between the turn-of-the-century format feud and the arrival of electrical amplification in the 1920s, I situate the loudness war within a longer historical trajectory, and demonstrate a variety of ways in which loudness and volume have been controversial issues in – and constitutive elements of – the history of sound reproduction. I suggest that the loudness war can be understood in relation to a broader cultural history of volume.
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Birdsall, Carolyn, Manon Parry, and Viktoria Tkaczyk. "Listening to the Mind." Public Historian 37, no. 4 (November 1, 2015): 47–72. http://dx.doi.org/10.1525/tph.2015.37.4.47.
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With increasing interest in the representation of histories of mental health in museums, sound has played a key role as a tool to access a range of voices. This essay discusses how sound can be used to give voice to those previously silenced. The focus is on the use of sound recording in the history of mental health care, and the archival sources left behind for potential reuse. Exhibition strategies explored include the use of sound to interrogate established narratives, to interrupt associations visitors make when viewing the material culture of mental health, and to foster empathic listening among audiences.
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Kenney, William, and David Morton. "Off the Record: The Technology and Culture of Sound Recording in America." Journal of American History 88, no. 1 (June 2001): 271. http://dx.doi.org/10.2307/2675037.
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Meyer, Stephen C. "Parsifal's Aura." 19th-Century Music 33, no. 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.
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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy works to easily recorded excerpts or arrangements. In this quasi-Adornian reading, early sound recordings of Parsifal manifest the inexorable power of the culture industry to undermine the authentic work of art. And yet sound recording can also be seen as the fruit of a different impulse, the impulse toward a fully transcendent work of art, the realization of the ““invisible theater”” for which Wagner himself supposedly yearned. Indeed, Parsifal (even more than Wagner's other works) was recorded primarily as a symphonic work, divested of what Adorno so tellingly called the ““phony hoopla”” of operatic production. Early sound recording of Parsifal thus amplifies the conflict between materialism and transcendence that forms the ideological substratum of the plot. This conflict manifests itself in the ““resistance”” that Parsifal offers up to the process of recording, a resistance that is ironically most audible precisely during the age in which the recordings themselves are most ““imperfect.”” It is in these traces of resistance, I will argue, that we may imagine the aura of Wagner's final work.
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Williams, Christopher. "The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde." Transcultural Studies 13, no. 2 (February 1, 2017): 239–63. http://dx.doi.org/10.1163/23751606-01302008.
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Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave sound, previously understood as immaterial, a concrete objectification capable of responding to creative praxis, and so brought about the conditions that enabled a radiophonic art to materialize.
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McNeil, Adrian. "Making modernity audible:Sarodiyas and the early recording industry." South Asia: Journal of South Asian Studies 27, no. 3 (December 2004): 315–37. http://dx.doi.org/10.1080/1479027042000327156.
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Xu, Chuan. "From Sonic Models to Sonic Hooligans: Magnetic Tape and the Unraveling of the Mao-Era Sound Regime, 1958–1983." East Asian Science, Technology and Society 13, no. 3 (September 1, 2019): 391–412. http://dx.doi.org/10.1215/18752160-7755487.
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Abstract This article examines the roles of magnetic recording in China’s sound governance. Through analyses of archival documents and personal accounts, this article argues that in the early 1980s, the magnetic recording infrastructure and its common usage underwent dramatic transformations. In the 1960s and 1970s, state officials and language educators configured the magnetic recording infrastructure to propagandize authoritative and normative sounds while maintaining strict hierarchical distinctions between those who recorded and those who listened. In the early 1980s, with the rapid popularization of compact cassettes and recorders, these distinctions dissolved as millions of people began to produce and exchange dubbed cassettes. Widespread home dubbing created a decentralized network of sound production and circulation that not only defied government regulation, but also fueled the anxieties that moral, social, and ideological catastrophes would soon descend on the country. Through this media history of magnetic tape, this article shows how the governance of sound infrastructure and protocols was integral to the governance of people.
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Jhingan, Shikha. "Backpacking Sounds." Feminist Media Histories 1, no. 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.
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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with the material she has collected. Khanwalkar's collaborative approach to musical sound has challenged genre boundaries between film music and folk music on the one hand and the oral and the recorded on the other. Her radical intervention in sound and music brings together unexplored spatialities, voices, bodies, and machines by foregrounding the process of citation, recording, and digital reworking. Through an exploration of Khanwalkar's work, involving travel, mobility, and a prosthetic extension of the body through the microphone, the author brings into discussion emerging practices that have expanded the aural boundaries of the Bombay film song.
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VanCour, Shawn, and Kyle Barnett. "Eat what you hear: Gustasonic discourses and the material culture of commercial sound recording." Journal of Material Culture 22, no. 1 (January 10, 2017): 93–109. http://dx.doi.org/10.1177/1359183516679186.
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This article analyzes discursive linkages between acts of listening and eating within a combined multisensory regime that the authors label the gustasonic. Including both marketing discourses mobilized by the commercial music industry and representations of record consumption in popular media texts, gustasonic discourses have shaped forms and experiences of recorded sound culture from the gramophone era to the present. The authors examine three prominent modalities of gustasonic discourse: (1) discourses that position records as edible objects for physical ingestion; (2) discourses that preserve linkages between listening and eating but incorporate musical recordings into the packaging of other foodstuffs; and (3) discourses of gustasonic distinction that position the listener as someone with discriminating taste. While the gustasonic on one hand serves as an aid to consumerism, it can also cultivate a countervailing collecting impulse that resists music’s commodity status and inscribes sound recording within alternative systems of culture value.
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Kocherzhuk, D. V. "Sound recording in pop art: differencing the «remake» and «remix» musical versions." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 229–44. http://dx.doi.org/10.34064/khnum2-14.15.
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Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios. Research methodology. In the course of the study two concepts – «remake» and «remix» – were under consideration and comparison, on practical examples of some works of famous pop vocalists from Ukraine and abroad. So, the research methodology includes the methods of analysis for consideration of the examples from the Ukrainian, Russian and world show business and the existing definitions of the concepts “remake” and “remix”; as well as comparison, checking, coordination of the latter; formalization and generalization of data in getting the results of our study. The modern strategies of the «remake» invariance development in the work of musicians are taken in account; also, the latest trends in the creation of versions of «remix» by world class artists and performers of contemporary Ukrainian pop music are reflected. The results of the study. The research results reveal the significance of terminology pair «remix» and «remake» in the activities of the pop singer. It found that the differences of two similar in importance terms not all artists in the music industry understand. The article analyzes the main scientific works of specialists in the audiovisual and musical arts, in philosophical and sociological areas, which addressed this issue in the structure of music, such as the studies by V. Tormakhova, V. Otkydach, V. Myslavskyi, I. Tarasova, Yu. Koliadych, L. Zdorovenko and several others, and on this basis the essence of the concepts “remake” and “remix” reveals. The phenomenon of the “remake” is described in detail in the dictionary of V. Mislavsky [5], where the author separately outlined the concept of “remake” not only in musical art, but also in the film industry and the structure of video games. The researcher I. Tarasovа also notes the term “remake” in connection with the problem of protection of intellectual property and the certification of the copyright of the performer and the composer who made the original version of the work [13]. At the same time, the term “remix” in musical science has not yet found a precise definition. In contemporary youth pop culture, the principle of variation of someone else’s musical material called “remix” is associated with club dance music, the principle of “remake” – with the interpretation of “another’s” music work by other artist-singers. “Remake” is a new version or interpretation of a previously published work [5: 31]. Also close to the concept of “remake” the term “cover version” is, which is now even more often uses in the field of modern pop music. This is a repetition of the storyline laid down by the author or performer of the original version, however, in his own interpretation of another artist, while the texture and structure of the work are preserving. A. M. Tormakhova deciphered the term “remake” as a wide spectrum of changes in the musical material associated with the repetition of plot themes and techniques [14: 8]. In a general sense, “a wide spectrum of changes” is not only the technical and emotional interpretation of the work, including the changes made by the performer in style, tempo, rhythm, tessitura, but also it is an aspect of composing activity. For a composer this is an expression of creative thinking, the embodiment of his own vision in the ways of arrangement of material. For a sound director and a sound engineer, a “remix” means the working with computer programs, saturating music with sound effects; for a producer and media corporations it is a business. “Remake” is a rather controversial phenomenon in the music world. On the one hand, it is training for beginners in the field of art; on the other hand, the use of someone else’s musical material in the work can neighbor on plagiarism and provoke the occurrence of certain conflict situations between artists. From the point of view of show business, “remake” is only a method for remind of a piece to the public for the purpose of its commercial use, no matter who the song performed. Basically, an agreement concludes between the artists on the transfer or contiguity of copyright and the right to perform the work for profit. For example, the song “Diva” by F. Kirkorov is a “remake” of the work borrowed from another performer, the winner of the Eurovision Song Contest 1998 – Dana International [17; 20], which is reflected in the relevant agreement on the commercial use of musical material. Remix as a music product is created using computer equipment or the Live Looping music platform due to the processing of the original by introducing various sound effects into the initial track. Interest in this principle of material processing arose in the 80s of the XXth century, when dance, club and DJ music entered into mass use [18]. As a remix, one can considers a single piece of music taken as the main component, which is complemented in sequence by the components of the DJ profile. It can be various samples, the changing of the speed of sounding, the tonality of the work, the “mutation” of the soloist’s voice, the saturation of the voice with effects to achieve a uniform musical ensemble. To the development of such a phenomenon as a “remix” the commercial activities of entertainment facilities (clubs, concert venues, etc.) contributes. The remix principle is connected with the renewal of the musical “hit”, whose popularity gradually decreased, and the rotation during the broadcast of the work did not gain a certain number of listeners. Conclusions. The musical art of the 21st century is full of new experimental and creative phenomena. The process of birth of modified forms of pop works deserves constant attention not only from the representatives of the industry of show business and audiovisual products, but also from scientists-musicologists. Such popular musical phenomena as “remix” and “remake” have a number of differences. So, a “remix” is a technical form of interpreting a piece of music with the help of computer processing of both instrumental parts and voices; it associated with the introduction of new, often very heterogeneous, elements, with tempo changes. A musical product created according to this principle is intended for listeners of “club music” and is not related to the studio work of the performer. The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version. The texture of the original composition, in the base, should be preserved, but it can be saturated with new sound elements, the vocal line and harmony can be partially changed according to interpreter’s own scheme. The introduction of the scientific definitions of these terms into a common base of musical concepts and the further in-depth study of all theoretical and practical components behind them will contribute to the correct orientation in terminology among the scientific workers of the artistic sphere and actorsvocalists.
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Jackson, Christophe E., John T. Tarvin, Paul A. Richardson, Stephen A. Watts, and Paul F. Castellanos. "Construction and Characterization of a Portable Sound Booth for Onsite Voice Recording." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 140–45. http://dx.doi.org/10.21091/mppa.2011.3022.
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The negative effects of environmental noise on sound recordings are recognized in the professional literature. Sound booths and anechoic chambers are examples of controlled acoustical environments widely used in research. However, both enclosures are expensive, require substantial space, and are not portable. Our research has been directed to measuring vocal endurance and voice characteristics of singers before and after sustained voice use. Our desire to acquire high-quality onsite recordings necessitated the development of a portable recording environment. In this article, we report the design, construction, and acoustic characterization of a prototype portable sound box (PSB) to acquire high-quality voice recordings in a controlled, portable acoustical measurement. Simulations were conducted to model the intended use of the PSB by voice users, using two acoustic characterization procedures. The first method showed higher intensity variations by region and depth as frequency changed. For the modified method, intensity response was more uniform and displayed less variation with frequency change. Both methods enabled us to (1) refine the onsite recording procedure, (2) provide insight into potential sources of analysis errors, and (3) develop detailed analysis of frequency intensity response affected by equipment variability. We found that it is possible to construct a PSB for onsite high-quality voice recording.
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VanderMeulen, Ian. "Vocal Arrangements: Technology, Aurality, and Authority in Qur'anic Recording." International Journal of Middle East Studies 53, no. 3 (August 2021): 371–86. http://dx.doi.org/10.1017/s0020743821000428.
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AbstractThis article uses ethnography of a studio recording project underway at a Qur'anic school in Salé, Morocco, to offer new insight on sound, media, and religious authority in Islamic contexts. The aim of the project is to record the entire Qur'an incorporating all of its seven canonical, variant readings (qirā’āt), which are enjoying a small renaissance in Morocco. Several of the school's faculty, known as shaykhs, engaged as expert listeners and overseers of the process. I show how a historical model of such expert listenership, which I call “aural authority,” is transformed by the technologies of the studio and then dispersed across a collective of productive agents that includes the reciter and the sound engineer. I argue that these transformations, along with erasure of the shaykh's role from the medium of circulation—the recording—presents significant challenges to the broader qirā’āt tradition and raises questions about its future.
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Hedges, Michael. "‘Modulation’ by Richard Powers: Digital sound, compression and the short story." Short Fiction in Theory & Practice 11, no. 1-2 (June 1, 2021): 161–76. http://dx.doi.org/10.1386/fict_00042_1.
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This article presents a reading of ‘Modulation’ (2008) by Richard Powers. Firstly, I consider the short story’s representation of the MP3 music file, specifically its effects on how music is circulated and stored, as well as how it sounds. These changes are the result of different processes of compression. The MP3 format makes use of data compression to reduce the file size of a digital recording significantly. Such a loss of information devises new social and material relations between what remains of the original music, the recording industry from which MP3s emerged and the online markets into which they enter. I argue that ‘Modulation’ is a powerful evocation of a watershed moment in how we consume digital sound: what Jonathan Sterne has termed the rise of the MP3 as ‘cultural artifact’. I contend that the short story, like the MP3, is also a compressed manner of representation. I use narrative theory and short story criticism to substantiate this claim, before positioning ‘Modulation’ alongside Powers’s novels of information. I conclude by suggesting that ‘Modulation’ offers an alternative to representing information through an excess of data. This article reads Powers’s compressed prose as a formal iteration of the data compression the story narrates.
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Szabó, Ferenc János. "Ernő Dohnányi: A Discography of the Performer." Studia Musicologica 63, no. 1-2 (December 9, 2022): 17–85. http://dx.doi.org/10.1556/6.2022.00003.
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AbstractThe performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.
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Littlejohn, John. "Record cultures: the transformation of the U.S. recording industry." Historical Journal of Film, Radio and Television 41, no. 4 (October 2, 2021): 879–80. http://dx.doi.org/10.1080/01439685.2021.1984652.
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Siriyuvasak, Ubonrat. "Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry." Popular Music 9, no. 1 (January 1990): 61–77. http://dx.doi.org/10.1017/s0261143000003731.
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Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation who grew up with western pop and rock. Young people in the countryside have begun to acquire a taste for the same music as well as enjoy a wider range of Pleng Luktoong, the country music with which they identify. How did this change which has resulted in the creation of a new pleasure industry come about? And what are some of the consequences of this transformation.
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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.
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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.
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Wood, Nicholas Stuart. "Protecting Creativity: Why Moral Rights Should be Extended to Sound Recordings under New Zealand Copyright Law." Victoria University of Wellington Law Review 32, no. 1 (March 5, 2001): 163. http://dx.doi.org/10.26686/vuwlr.v32i1.5899.
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Traditionally, moral rights have not extended to the creators of sound recordings under either common law or civil law systems. The somewhat outdated rationale of this exclusion of sound recordings from the ambit of moral rights protection was generally that sound recordings were merely mechanical reproductions of already existing musical works, and hence the recordings lacked sufficient creativity to make them worthy of moral rights protection. In 1996, the WIPO Performances and Phonograms Treaty sought to remedy this anomaly in copyright law by extending the moral rights of paternity and of integrity to performers whose performances are fixed in sound recordings.This paper argues that New Zealand should follow WIPO's lead and extend the moral rights provisions of the Copyright Act 1994 to sound recordings. The author argues that sound recordings are imbued with sufficient creativity to merit moral rights protection and that this protection should be granted not only to performers but to sound engineers and producers, who also contribute creatively to the recording. This paper examines how moral rights in relation to sound recordings might work in practice and what remedies should be available for breach of these rights. The author concludes that the extension of moral rights to sound recordings need not impact detrimentally on the music industry, as some commentators fear.
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Thibeault, Matthew D. "Learning With Sound Recordings: A History of Suzuki’s Mediated Pedagogy." Journal of Research in Music Education 66, no. 1 (February 7, 2018): 6–30. http://dx.doi.org/10.1177/0022429418756879.
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This article presents a history of mediated pedagogy in the Suzuki Method, the first widespread approach to learning an instrument in which sound recordings were central. Media are conceptualized as socially constituted: philosophical ideas, pedagogic practices, and cultural values that together form a contingent and changing technological network. Suzuki’s early experiments in the 1930s and 1940s established central ideas: the importance of repetition in learning, the recording as teacher, a place for mothers in assisting learning, and the teachability of talent. Suzuki also refined approaches to learning through specialized modes of listening as he examined tens of thousands of student graduation tapes. During the 1960s, Kendall published the first translation of the method in the United States, and his correspondence with Suzuki along with writings for teachers provide a window into evolving pedagogic practices. The method’s mediated pedagogy changed radically in the 1970s as cassette tapes allowed students to be easily recorded for the first time. The article also considers cultural values and the contingency of media through the vastly different acceptance of recordings in the Japanese and US contexts, including efforts by Kendall during the 1980s to eliminate Suzuki’s controversial practice of advanced recitals played to recorded accompaniment.
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Ord, Matthew. "From here." Politics of Sound 18, no. 4 (July 3, 2019): 598–616. http://dx.doi.org/10.1075/jlp.18062.ord.
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Abstract This article considers the sonic construction of place in English folk music recordings. Recent shifts in the political context have stimulated renewed interest in English identity within folk music culture. Symbolic struggles over folk’s political significance highlight both the contested nature of English identity and music’s semantic ambiguity, with texts being interpolated into discourses of both ethnic purity and multiculturalism. Following research in popular music, sound studies and multimodal communication this article explores the use of field recording to explore questions of place and Englishness in the work of contemporary folk artists. A multimodal analysis of Stick in the Wheel’s From Here: English Folk Field Recordings (2017) suggests that a multimodal approach to musical texts that attends to the semantic affordances of sound recording can provide insight into folk music’s role in debates over the nature of English identity.
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Fiebig, Gerald. "Acoustic Art Forms in the Age of Recordability." Organised Sound 20, no. 2 (July 7, 2015): 200–206. http://dx.doi.org/10.1017/s1355771815000084.
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Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.
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Gitelman, Lisa. "Off the Record: The Technology and Culture of Sound Recording in America. David Morton." Isis 92, no. 1 (March 2001): 218–19. http://dx.doi.org/10.1086/385146.
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Fishzon, Anna. "The Operatics of Everyday Life, or, How Authenticity Was Defined in Late Imperial Russia." Slavic Review 70, no. 4 (2011): 795–818. http://dx.doi.org/10.5612/slavicreview.70.4.0795.
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In this article, Anna Fishzon explores how the phenomena of celebrity culture and early sound recording contributed to notions of audientic selfhood in late imperial Russia. Public discussions about celebrities like the Bol'shoi Theater bass Fedor Shaliapin helped forge understandings of sincerity and spoke to contemporary concerns regarding the relationship between fame and artifice, the public persona and the inner self. Fishzon suggests that the emergent recording industry penetrated and altered everyday emotional experience, the arena of work, and the organization of leisure, linking gramophonic discourses to celebrity culture and its rhetoric of authenticity and sincerity. In part because Russian audio magazines and gramophone manufacturers heavily promoted celebrity opera recordings, sonic fidelity was equated with the capacity of the recorded voice to convey “sincerity,” understood, in turn, as the announcement of ardent feelings. Fan letters to Shaliapin and Ivan Ershov document these new sensibilities regarding self, authenticity, desire, and emotions.
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Hoegaerts, Josephine. "Voices that Matter?" Historical Reflections/Réflexions Historiques 47, no. 1 (March 1, 2021): 113–37. http://dx.doi.org/10.3167/hrrh.2021.470106.
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How do we thoroughly historicize the voice, or integrate it into our historical research, and how do we account for the mundane daily practices of voice . . . the constant talking, humming, murmuring, whispering, and mumbling that went on off stage, in living rooms, debating clubs, business meetings, and on the streets? Work across the humanities has provided us with approaches to deal with aspects of voices, vocality, and their sounds. This article considers how we can mobilize and adapt such interdisciplinary methods for the study of history. It charts out a practical approach to attend to the history of voices—including unmusical ones—before recording, drawing on insights from the fields of sound studies, musicology, and performativity. It suggests ways to “listen anew” to familiar sources as well as less conventional source material. And it insists on a combination of analytical approaches focusing on vocabulary, bodily practice, and the questionable particularity of sound.
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Roy, Elodie A. "‘Total trash’. Recorded music and the logic of waste." Popular Music 39, no. 1 (February 2020): 88–107. http://dx.doi.org/10.1017/s0261143019000576.
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AbstractThis article introduces three situated moments – or plateaux – in order to partially uncover the particular affinities between popular music and the ‘logic of waste’ in the Anthropocene Era, from early phonography to the present digital realm (with a focus on the UK, United States, and British India). The article starts with a ‘partial inventory’ of the Anthropocene, outlining the heuristic values of waste studies for research in popular music. The first plateau retraces the more historical links between popular music and waste, showing how waste (and the positive discourses surrounding it) became a defining element of the discourse and practices of early phonography. It aims to show how recorded sound participated in (and helped define, in an emblematic manner) a rapidly expanding ‘throwaway culture’ at the turn of the 20th century. The second plateau presents a more global panorama of the recording industry through a focus on shellac (a core, reversible substance of the early recording industry). Finally, the third plateau presents some insights into the ways in which popular music may ‘play’ and incorporate residual materialities in the contemporary ‘digital age’. I argue that the logic of waste defined both the space and pace of the early record industry, and continued to inform musical consumption across the 20th century – notably when toxic, non-recyclable synthetic materials (especially polyvinyl) were introduced.
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O’Grady, Pat. "The Master of Mystery." Journal of Popular Music Studies 31, no. 2 (June 2019): 147–64. http://dx.doi.org/10.1525/jpms.2019.312012.
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Over the past twenty years, the field of popular music studies has significantly enhanced our understanding of pop music production. Studies have drawn from a range of industry discussions to explore, for example, the ways in which emergent technologies have led to distinctive production techniques and the important role that recording technologies play in shaping the sound of pop music. Whereas many industry discussions have provided productive sites of analysis, they can also obstruct research in some respects. This article focuses on an area of music production where such industrial discussions tend to hinder, rather than enhance, an understanding of its practices. It examines the ways in which industry discussions position the process of mastering as “mysterious.” This article argues representations of mastering as “mysterious” work to reinforce the importance of this practice and also safeguard it from new technologies that might challenge its dominance. These representations can function to reproduce and secure social hierarchies within the field.
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Yu, Miao, Yutong He, and Qian Kong. "Research on Pattern Extraction Method of Underwater Acoustic Signal Based on Linear Array." Mathematical Problems in Engineering 2022 (April 15, 2022): 1–10. http://dx.doi.org/10.1155/2022/1819423.
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Underwater acoustic signal is an important reference data for marine information research. The research and application of underwater acoustic signal have been widely concerned and valued by countries and enterprises. With the needs of modern military development and the development of marine industry, the research and application of underwater acoustic signal will develop faster and faster. In order to better understand marine information, it is necessary to collect seawater acoustic signal data. Aiming at the purpose of recording underwater acoustic signals placed in the ocean for a long time, this study innovates the calibration and recording of large dynamic range of long-time underwater acoustic signals, improves the circuit setting methods such as receiving, amplification, and sampling, designs a large dynamic series of long-time underwater acoustic signal recording device, and adopts the linear array extraction method, so that it can monitor the underwater acoustic biological sound under the condition of low power. It can also monitor the blasting sound of offshore engineering. Hardware circuit design mainly includes main control chip selection, amplification circuit design, filter circuit design, analog-to-digital conversion circuit design, storage circuit design, and some auxiliary circuit design. The fourth chapter introduces the software development process of large dynamic range underwater acoustic signal recorder and mainly introduces the system development tool, system clock working method, real-time clock module working method, underwater acoustic signal acquisition method, data storage scheme design, and the use of FatFs file system. The underwater acoustic signal data is stored on a MicroSD in the form of TXT file; linear array extraction method is used for feature extraction. Compared to other methods, the transformer will suppress DC and low-frequency interference signals, thus achieving high-pass filtering characteristics. Finally, the performance and experimental results of the whole underwater acoustic signal recording device are analyzed. After testing, the underwater acoustic signal recording device designed in this paper works stably and can record underwater acoustic signals with large dynamic range for a long time in low-power mode.
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McGuire, Riley. "Writing Novels, Simulating Voices: Euphonia, Trilby, and the Technological Sounding of Identity." Victorian Literature and Culture 49, no. 2 (2021): 325–60. http://dx.doi.org/10.1017/s1060150319000251.
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This article troubles a tendency in literary criticism to equate novelistic speech with sound recording. It recovers the history of Joseph Faber's Euphonia (a speech simulator exhibited from the 1840s to the 1880s) in order to articulate an alternative vocal ontology of the novel—one of simulation rather than recording. The Euphonia has striking parallels to the eponymous heroine of George Du Maurier's Trilby (1894): their comparably mechanized utterances flatten hierarchies of difference, instead of phonographically using the voice to archive particularity. In dialogue, the Euphonia and Trilby elucidate the relationship between page and voice as always collaborative, though contoured by power.