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Journal articles on the topic 'Sound recordings – History'
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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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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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Deggeller, Kurt. "From “Sound” to “Sound and Audiovisual”: History and Future of IASA." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 7–13. http://dx.doi.org/10.35320/ij.v0i52.146.
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IASA emerged in 1969 from IAML, the International Association of Music Libraries, Archives and Documentation Centres. The interests of IAML’s members largely focused on music as manuscript or score, and musical sound recordings were dealt with in the Record Library Committee. IASA was founded to consider additional types of sound recordings, including research and oral history. From the frst years of IASA’s existence, the question of the organisation’s relationship to the moving image arose, represented by the International Federation of Film Archives (FIAF). But as early as 1979, a delegate from the United States also brought video into play. With independence from IAML in the late 1980s, an intensive discussion began about the future of IASA and the expansion of the scope of the association to include audiovisual documents. Finally in 1999, the constitution and the name of the association were adapted. The transformation process triggered by this name change is still underway today. It could prove to be an advantage for IASA because it opens possibilities of adaptation to the rapidly changing world of audiovisual production due to digitisation and online media.
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Pombier, Nicki. "Gail Mary Killian Sound Recordings, 1971–1985." Oral History Review 48, no. 1 (January 2, 2021): 116–19. http://dx.doi.org/10.1080/00940798.2021.1889311.
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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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Kendall, Matthew. "Room for Noise in Soviet Sound Recording." Slavic Review 82, no. 4 (2023): 865–73. http://dx.doi.org/10.1017/slr.2024.5.
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When he was nearing the end of his life, Viktor Shklovskii recorded an oral interview that was recently digitized and published by the Moscow oral history project (http://www.oralhistory.ru). During the audio encoding process, Shklovskii's voice and the contents of the interview were badly distorted. This article frames noise as an important force that impacts not only how sound documents become authoritative archival evidence, but also indexically points to the context of their creation. To do so, I compare the role that sound plays in Shklovskii's own writing with the history of the Soviet state's archival preservation of sound, a variety of amateur sound recording projects, and mainstream discussions of audio quality and sound recording in the Soviet press. Ultimately, I argue that for audio researchers, making room for noise allows us to see the emancipatory gesture embedded within amateur tape recording itself: the ambiguous noise that seemingly marred unpolished recordings can instead be heard as a sonic alternative to official narratives.
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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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Thompson, Emily. "Making Noise in The Roaring ’Twenties." Public Historian 37, no. 4 (November 1, 2015): 91–110. http://dx.doi.org/10.1525/tph.2015.37.4.91.
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The Internet offers an unprecedented bounty of historic sound recordings, and the opportunity to listen in on the past has never been greater. But online sound archives also present new challenges. Public history websites must recover the meaning of sound as well as sound itself, and thereby engender a historicized mode of listening that tunes modern ears to the pitch of the past. The Roaring ’Twenties website attempts this via an interactive multimedia environment of sounds, images, and texts, recreating for its listeners the sonic culture of New York City circa 1929, a place and time defined by its din.
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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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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (December 1, 2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.
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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was measured, each collected on a different day, yielding a total of 114 measurements. Results showed that 20.2% of all recordings exceeded the recommended NIOSH sound exposure limits of both 100% projected daily dose and 85 LAeq. Analysis between styles of dance demonstrated significantly lower LAeq (p≤0.05) in soft shoe Irish dance compared to ballet (p=0.023), modern (p=0.035), and Irish hard shoe dance (p=0.009). Irish soft shoe dance demonstrated minimal to no risk of high sound exposure. Conversely, 53.25% of ballet, 90.9% of Irish hard shoe dance, and 68.24% of modern recordings exhibited minimal to moderate risk of high sound exposure. Furthermore, we found wide ranges of projected daily noise doses within classes taught by the same teacher. It is recommended that multiple recordings of dance environments be obtained, as a single sound recording may not accurately represent potential exposure. These findings indicate that dancers of Irish hard shoe, modern, and ballet may benefit from noise intervention such as audiometric testing, noise controls, and hearing protection.
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Blocker, Jane. "History in the Present Progressive: Sonic Imposture at The Pedicord Apts." TDR/The Drama Review 59, no. 4 (December 2015): 36–50. http://dx.doi.org/10.1162/dram_a_00495.
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Scholars often think of sound, even recorded sound, as having a special relationship to the real that other historical artifacts do not. But if sound is a material thing, and things can be, from a new materialist perspective, “quasi-agents,” is it possible that sound is an agent that poses or acts? Three “scenes of history” utilizing recorded sound—Beckett’s Krapp’s Last Tape, archival recordings of FDR, and a sound installation by Edward and Nancy Kienholz—provide diverse contexts through which to investigate the nature of sound’ s material agency.
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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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Lavrentev, Mikhail Y. "WORLD WAR II IN THE RSASR PHONO DOCUMENTS." History and Archives, no. 4 (2020): 149–56. http://dx.doi.org/10.28995/2658-6541-2020-4-149-156.
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The present article describes the phono documents of the Russian State Archives of Sound Recordings related to World War II. The work covers the specifics of these documents and their value for the war history research as well as for understanding of the war-time atmosphere and its reflection in people’s minds during and after the war. The paper analyses the audio recordings made both during World War II and the following years. The examples of most important documents are presented. The existence of phono documents created before the start of World War II and after its end is indicated. The article informs on the sound recordings created during the years of World War II. It also states the existence of captured phono documents created by Nazi Germany and sound recordings of war criminals court processes. The author describes the work done by archivists to provide easy access of the public to phono documents. The article specifies the thematic catalogues of war history documents dating from 1929 to 1946 that can be found on the RSASR’s website. The titles and the short descriptions of the Internet projects that include fragments of the World War II history audio recordings are also given. The article notes a presence in the Archives of the numerous artistic recordings pertaining to the War and indicates their importance.
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Cocciolo, Anthony. "Digitizing oral history: can you hear the difference?" OCLC Systems & Services: International digital library perspectives 31, no. 3 (August 10, 2015): 125–33. http://dx.doi.org/10.1108/oclc-03-2014-0019.
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Purpose – The purpose of this study is to answer the questions: Can students discern the difference between oral histories digitized at archival quality (96 kHz/24-bit) versus CD-quality (44.1 kHz/16-bit)? and How important do they believe this difference is? Digitization of analog audio recordings has become the recommended best practice in preserving and making available oral histories. Additionally, well-accepted standards in performing this work are available. However, there is relatively little research that addresses if individuals can hear a qualitative difference in recordings made with best practices versus those that have not. Design/methodology/approach – In all, 53 individuals participated in the study, where they listened to three sets of oral histories and had to decide which was the archival-quality recording versus the CD-quality recording and mark their answer on a survey. Findings – Students could discern less than half of the time on average which was the archival quality versus the CD-quality recording. Further, after listening to the differences, they most often indicated the difference was “a little bit important”. Practical implications – This research does not suggest that archivists abandon well-established sound digitization practices that produce results that audio archivists (and those able to hear fine-grain audio differences) find superior. Rather, it does imply that additional work may be needed to train listeners to discern these fine-grain differences, and appreciate the highest-fidelity replication of original audio recordings. Originality/value – This research addresses a gap in the literature by connecting audio digitization practices to its impact on listener perception.
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Pigott, Michael. "Sounds of the Projection Box: Liner Notes for a Phonographic Method." Journal of British Cinema and Television 15, no. 1 (January 2018): 27–45. http://dx.doi.org/10.3366/jbctv.2018.0400.
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In order to document, investigate and analyse the soundscape of the analogue projection box before it passes into history, a series of audio recordings was made within functioning boxes, a selection of which have been released as an ‘album’. The recordings, made in UK boxes that maintain both 35mm film projection and digital projection, also capture the shifting sonic texture of this environment as it changes from primarily analogue to primarily digital operation. This article explores the role of phonographic field recording as a practical methodology within a film historical research project that investigates the role of the film projectionist and cinematic projection throughout the history of cinema exhibition in the UK. It proposes a set of systematic principles for approaching the use of phonographic field recording in this context, and shows how they may be applied. Through an analysis of both the recordings themselves and the experience of making the recordings, it extracts some observations regarding the character, history and culture of the projection box as a lived environment and workplace. Just as cinema-goers seldom get to see inside this hidden room at the back of the auditorium, these sound recordings also reveal it to be a soundproofed box, a noisy environment in which the interface between operator and machine takes audible form, in which noise of one sort indicates smooth operation, while another sort indicates faults that need to be addressed. The article considers the legibility of noise and proposes that the relationship between projectionist and machine is significantly aural as well as visual and tactile.
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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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Staaterman, Erica, Claire B. Paris, and Andrew S. Kough. "First evidence of fish larvae producing sounds." Biology Letters 10, no. 10 (October 2014): 20140643. http://dx.doi.org/10.1098/rsbl.2014.0643.
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The acoustic ecology of marine fishes has traditionally focused on adults, while overlooking the early life-history stages. Here, we document the first acoustic recordings of pre-settlement stage grey snapper larvae ( Lutjanus griseus ). Through a combination of in situ and unprovoked laboratory recordings, we found that L. griseus larvae are acoustically active during the night, producing ‘knock’ and ‘growl’ sounds that are spectrally and temporally similar to those of adults. While the exact function and physiological mechanisms of sound production in fish larvae are unknown, we suggest that these sounds may enable snapper larvae to maintain group cohesion at night when visual cues are reduced.
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Stephens, Carlene E. "“Speculative Imaginations”: Listening to 1889, Then and Now." Journal of the Gilded Age and Progressive Era 22, no. 4 (October 2023): 452–74. http://dx.doi.org/10.1017/s1537781423000245.
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AbstractIn an examination of three cylinder recordings from 1889, this essay compares the context for their original production with the experience of hearing them again in 2019, thanks to IRENE, a twenty-first century suite of state-of-the-art techniques and equipment designed to recover sound from old recordings otherwise considered unplayable. This pairing offers an opportunity to examine how each period envisioned the technical opportunities and social purpose of these new sound technologies in their respective times. Inspired by the work of Sheila Jasanoff and others who have developed the concept of “sociotechnical imaginaries,” this analysis focuses on the role of listeners’ imaginations and asks how their notions shaped the meaning, use, and material aspects of recorded sound and playback. As a contribution to sound studies, this comparative look manifests the field’s attention to both sonic phenomena and the means by which we come to know and experience those phenomena.
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Jaff, Asmaa Ahmed Mustafa, Çilen Erçin, and Zeynep Onur. "Assessing the Soundscape Characteristics of Historical Urban Environments: An Analysis of the Historical Erbil Citadel and Its Environments." Buildings 13, no. 12 (December 13, 2023): 3091. http://dx.doi.org/10.3390/buildings13123091.
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This research addresses the neglect of sensory features, specifically the soundscape, in studies focused on preserving historic areas. The aim was to contribute to soundscape research by examining the effect of sound on the perception of urban historical places and the impact of the “renewal and transformation” process on audio-visual experiences. This study focused on the historical Erbil Citadel as a case study area, known for its extensive cultural history. Sound sources in the region were identified, recorded, and analyzed using software to calculate the Sound Pressure Level (SPL). The sound sources assessed as a result of the analysis were examined using Schafer’s sound characteristics. In this study, data was collected through a soundwalk study in the historical Erbil Citadel, and its surroundings were identified. The characteristics of the sounds were determined from the sound recordings, enabling the distinction of sounds contributing to the city’s identity. A route was established in its current state, and it was identified which regional precautions should be taken to preserve the sound identity of the city.
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WESTERN, TOM. "‘The Age of the Golden Ear’:The Columbia World Libraryand Sounding out Post-war Field Recording." Twentieth-Century Music 11, no. 2 (July 30, 2014): 275–300. http://dx.doi.org/10.1017/s1478572214000103.
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AbstractThis article responds to Alan Lomax's pronouncement that the mid-twentieth century constituted ‘the age of the golden ear’, when ‘a passionate aural curiosity overshadowed the ability to create music’. It examines a project born out of Lomax's own aural curiosity and his foregrounding of recording technology – theColumbia World Library of Folk and Primitive Music(1955) – using it to sound out the history of mid-century ethnographic field recording. By retracing the production of theWorld Library, this article explores the various agencies compressed into the audible exteriors of field recordings, as they were produced by and for specific technologies and formats, circulated through international networks, and as they became part of the aural public sphere of post-war Europe. It concludes by considering some of the implications of this sonic labour as field recordings find their way into new, digital, listening environments.
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Johnston, Sarah. "Voices from the War: Improving Access to the Recordings of New Zealand’s World War II Mobile Broadcasting Units." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 22–32. http://dx.doi.org/10.35320/ij.v0i52.125.
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In August 1940, three New Zealand radio broadcasters set sail on an army troop ship from Wellington. They were bound for Egypt, where the New Zealand armed forces were part of the British Empire’s push to drive the German and Italian armies out of North Africa and the Middle East. With them was a mobile recording van, equipped to capture on lacquer discs the voices and sounds of New Zealanders at war, and send those re- cordings back home for radio broadcasts on the other side of the world. For the next five years, the Mobile Broadcasting Unit recorded interviews and reports about the fighting and the day-to-day business of war, as well as thousands of simple messages home from servicemen, and a few women. Today, the 1600 surviving Mobile Unit discs form part of the sound archives of Radio New Zealand, held by audiovisual archive Ngā Taonga Sound & Vision. In this article the author will outline the history of the Mobile Units and the context in which they worked. She will also describe on-going work to identify the speakers heard in their recordings and make this collection more discoverable and accessible to researchers. Ngā Taonga Sound & Vision is currently digitising the collection and preservation archivist Sandy Ditchburn will describe some of the challenges she has encoun- tered in capturing sound from the 80-year-old lacquer discs.
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Soria-Martínez, Verónica. "Resounding Memory: Aural Augmented Reality and the Retelling of History." Leonardo Music Journal 27 (December 2017): 12–16. http://dx.doi.org/10.1162/lmj_a_01001.
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This text discusses sound art projects in which artists have used augmented reality along with recordings or data of public spaces. All the works mentioned here were carried out in Spain from 2010 to 2016. In them, memories become tied to the physical space through social interactions facilitated by communication technologies; listeners get involved through the use of mobile devices. These practices consider the role of sound in the display of memories in the public space, thus configuring a subjective memory that contrasts with the institutional narrations of the history of a place.
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Bijsterveld, Karin. "Ears-on Exhibitions." Public Historian 37, no. 4 (November 1, 2015): 73–90. http://dx.doi.org/10.1525/tph.2015.37.4.73.
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Between March 2013 and November 2014, the Amsterdam Museum had an installation that enabled visitors to compare a recent soundscape recording of the Dam Square with simulations of how the Dam sounded in 1895 and 1935. Constructing these simulations involved virtual acoustics software, recordings of historical artifacts, and research into the urban past. This paper critically discusses how the installation was made and received by comparing the acoustic authenticity ideal behind it with the aims of the early music movement. It concludes by reviewing alternative ways of using sound in history museums by reflecting on issues of framing, identification, sensory instruction, and embodiment.
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Schmidt, Uta C. "Soundscape of the Ruhr: Sensitive Sounds. Between Documentation, Composition and Historical Research." Prace Kulturoznawcze 26, no. 1 (July 22, 2022): 99–118. http://dx.doi.org/10.19195/0860-6668.26.1.6.
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The following article discusses the Sound Archive of the Ruhr. Our project touches upon a set of questions that are of interest to sound studies. They concern intention and modes of archiving sound, working for museums, exhibitions, film, theatre productions, education and science, recordings as testimony as well as cultural heritage. Working on and with the archive made us sensitive to the aurality of the confined space and to the horizons of meaning that people attributed (and still attribute) to the acoustic dimensions of their everyday life. As a result, we began to conceptualize history based on the sensual constitution of reality and thus were able to take a different view of social transformations. The sounds in the Sound Archive of the Ruhr are not “sensitive” like surveillance tapes that document state repression and blackmail, uncover political scandals or are used for propaganda purposes. These sounds are sensitive because they are endangered and therefore should be recorded with respect for cultural heritage. Moreover, they raise questions about the political power, which defines when and how sound is considered noise in a changing social order.
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Dimov, Ventsislav. "Following the black spiral: Old voices, new life (Towards the history of the early commercial gramophone records in Bulgaria)." Muzikologija, no. 32 (2022): 19–40. http://dx.doi.org/10.2298/muz2232019d.
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The earliest surviving sound evidence of music and musicians from Bulgaria is on commercial gramophone records from the early XX century. Although unique sources for ethnomusicological and historical research, these commercial recordings are little known and almost unexplored. The proposed text sets out to collect and describe information on the first decade of commercial gramophone recordings in Bulgaria. The basis for the research is sound evidence from scholarly and museum archives and private collections; music company catalogues, labels on gramophone records, discographies; and supporting information - texts and advertising images from newspapers, memoirs and memoir literature as primary and secondary sources. The sought ethnomusicological approach is achieved through a combination of different research methods: ethnographic, historical, discographic, cultural, anthropological. The results of the research present the role of commercial recordings in musical and popular culture in Bulgaria in the years leading up to the First World War, cultural life, musical history, musicing, intercultural interactions, the cultural choices of Western and local, Slavic and Balkan, traditional music in non-traditional modern contexts, art music in popular contexts, and the role of professional musicians.
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Gimenez-Perez, Alicia, Miguel Arana-Burgui, Rosa Cibrian, Salvador Cerda-Jorda, and Jaume Segura-Garcia. "Study of soundscapes in heritage festivals: the "Fallas" of Valencia, "Festa de la Mare de Déu d'Algemesí" and the "Moros y Cristianos" festival of Villena (Alicante)." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 1 (November 30, 2023): 7265–75. http://dx.doi.org/10.3397/in_2023_1092.
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The conservation of the Intangible Cultural Sound Heritage of Humanity is one of the most important assets of a people as it is linked to its culture and history. Its evaluation by means of objective acoustic and psycho-acoustic parameters makes it possible to characterise these environments from objective, aesthetic and emotional criteria. The description of the soundscape is governed by the ISO 12913 standard. The procedure for assessing soundscapes in outdoor sites is carried out with sound-walks. In this work, we have evaluated two different soundscapes in festivities in Spain: "Fallas" in Valencia, "Festa de la Mare de Déu" in Algemesí and "Moros y Cristianos" in Villena. This evaluation has been carried out by recording the ambient sound of these festivities while walking among people. From the recordings, we calculated different psychoacoustic metrics (i.e. loudness, sharpness, roughness, fluctuation stress and tonality) and evaluated them with Zwicker models. In addition, a subjective survey was conducted to compare the subjective response with the psychoacoustic metrics.
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Rice, Timothy, and Dave Wilson. "Creating a Global Music History." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 1–6. http://dx.doi.org/10.30819/aemr.10-1.
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The authors use the mission statement of the ICTM Study Group on Global Music History to present issues they faced in writing a global music history intended for use in schools of music (conservatories) in the United States. They argue that all global music histories will of necessity be written from some position on the globe, not from “outer space”; explain how they constructed a chronology going back thousands of years from sound recordings all made in the twentieth century; and outline their pedagogical goal of introducing music students to the full range of human music making today.
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Eyerly, Sarah. "Reconstructing the Intangible Cultural Heritage of the Moravian Missions." Journal of Moravian History 22, no. 2 (October 1, 2022): 187–93. http://dx.doi.org/10.5325/jmorahist.22.2.0187.
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ABSTRACT This article discusses the application of digital sound technologies within the field of Moravian studies through the case study of Moravian Soundscapes, a digital companion project to the book Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania (Bloomington: Indiana University Press, 2020). Through sound recordings, digital and historic maps, and archival materials from the Moravian Archives in Bethlehem, Pennsylvania, and Herrnhut, Germany, as well as place-based photography, the project documents and reconstructs the soundscapes of eighteenth-century Moravian mission communities in eastern Pennsylvania. The article advocates for the use of sound mapping and sound reconstructions as important methods for understanding the intangible cultural heritage of early Moravian communities.
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Howley, Joseph A. "Aural Philology and the Latin Recordings of the Harvard Vocarium." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 363–69. http://dx.doi.org/10.1632/pmla.2020.135.2.363.
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Philology is Often Taken to Be a Matter of Eyes and Hands: We Make Sense of Written Text, And Then Write Down Our Findings. This essay is interested in philology as a matter of the ear. Since Walter Ong declared the fundamental opposition of orality and literacy, humanists have located the lost, spoken origins of written text in the realm of orality. By contrast, aurality, the way texts are encountered by the ear, is a condition of consumption, which is to say reading, and so by considering aurality we are also considering the history of reading.Sound recordings, created by phonographic technology, provide a useful critical framework for the history of reading. In addition to what we think of as the legible or intentional content of a recording, sound recordings have what audio engineers call “room tone”—the sonic signature of the space in which the recording was made, the equipment used to make it, and the specific placement of that equipment in relation to a subject. Although we learn to unhear room tone by means of what Jonathan Sterne calls “audile techniques” (137), its presence is always felt. By attuning our ears to the room tone of historical phonography, then, we can practice attuning our historians' ears to the barely perceptible silences, markers of space, and context in textual artifacts of historical reading culture.
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Serene, Frank H. "Motion Pictures, Videotapes and Sound Recordings at the National Archives." Historical Journal of Film, Radio and Television 16, no. 1 (March 1996): 55–67. http://dx.doi.org/10.1080/01439689600260091.
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Devine, Kyle. "Decomposed: a political ecology of music." Popular Music 34, no. 3 (September 8, 2015): 367–89. http://dx.doi.org/10.1017/s026114301500032x.
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AbstractThis article is about what recordings are made of, and about what happens to those recordings when they are disposed of. It inscribes a history of recorded music in three main materials: shellac, plastic and data. These materials constitute the five most prevalent recording formats since 1900: 78s, LPs, cassettes, CDs and MP3s. The goal is to forge a political ecology of the evolving relationship between popular music and sound technology, which accounts not only for human production and consumption but also material manufacture and disposal. Such an orientation is useful for developing an analytical framework that is adequate to the complexities of the global material–cultural flows in which the recorded music commodity is constituted and deconstituted. It also strives towards a more responsible way of thinking about the relationship between popular music's cultural and economic value, on the one hand, and its environmental cost, on the other.
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Drever, John L., Aysegul Yildirim, and Mattia Cobianchi. "London Street Noises: A Ground-Breaking Field Recording Campaign from 1928." Acoustics 3, no. 1 (February 18, 2021): 118–36. http://dx.doi.org/10.3390/acoustics3010010.
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In a leading article by Sir Percival Philips in the UK popular newspaper, the Daily Mail, July 16, 1928, came the following headlines: “Millions Lost by Noise – Cities’ Worst Plague – Menace to Nerves and Health – What is Being Done to Stop it”. The article was supported by research from Prof Henry J. Spooner, who had been researching and campaigning on the ill-effects of noise and its economic impact. The article sparked subsequent discussion and follow-up articles in the Daily Mail and its international partners. In an era of rapid technological change, that was on the cusp of implementing sound pressure measurements, the Daily Mail, in collaboration with the Columbia Graphophone Company Ltd, experimented with sound recording technology and commentary in the field to help communicate perceived loudness and identify the sources of “unnecessary noise”. This resulted in the making of series of environmental sound recordings from five locations across central London during September 1928, the findings of which were documented and discussed in the Daily Mail at the time, and two recordings commercially released by Columbia on shellac gramophone disc. This was probably the first concerted anti-noise campaign of this type and scale, requiring huge technological efforts. The regulatory bodies and politicians of the time reviewed and improved the policies around urban noise shortly after the presentation of the recordings, which were also broadcast from the BBC both nationally and internationally, and many members of the public congratulated and thanked the Daily Mail for such an initiative. Despite its unpreceded scale and impact, and the recent scholarly attention on the history of anti-noise campaigning, this paper charts and contextualises the Daily Mail’s London Street Noise campaign for the first time. As well as historical research, this data has also been used to start a longitudinal comparative study still underway, returning to make field recordings on the site on the 80th and 90th anniversaries and during the COVID-19 lockdown, and shared on the website londonstreetnoises.co.uk.
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Leech-Wilkinson, Daniel. "Sound and Meaning in Recordings of Schubert's “Die junge Nonne”." Musicae Scientiae 11, no. 2 (July 2007): 209–36. http://dx.doi.org/10.1177/102986490701100204.
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Musicology's growing interest in performance brings it closer to musical science through a shared interest in the relationship between musical sounds and emotional states. However, the fact that musical performance styles change over time implies that understandings of musical compositions change too. And this has implications for studies of music cognition. While the mechanisms by which musical sounds suggest meaning are likely to be biologically grounded, what musical sounds signify in specific performance contexts today may not always be what they signified in the past, nor what they will signify in the future. Studies of music cognition need to take account of performance style change and its potential to inflect conclusions with cultural assumptions. The recorded performance history of Schubert's “Die junge Nonne” offers examples of significant change in style, as well as a range of radically contrasting views of what the song's text may mean. By examining details of performances, and interpreting them in the light of work on music perception and cognition, it is possible to gain a clearer understanding of how signs of emotional state are deployed in performance by singers. At the same time, in the absence of strong evidence as to how individual performances were understood in the past, we have to recognise that we can only speak with any confidence for our own time.
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LANE, CATHY. "Voices from the Past: compositional approaches to using recorded speech." Organised Sound 11, no. 1 (March 15, 2006): 3–11. http://dx.doi.org/10.1017/s1355771806000021.
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This paper investigates some of the ways in which composers and sound artists have used recordings of speech, especially in works mediated by technology. It will consider this within a wider context of spoken word, text composition and performance-based genres such as sound poetry. It will attempt to categorise some of the compositional techniques that may be used to work with speech, make specific reference to archive and oral history material and attempt to draw some conclusions.
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Kolomyyets, Olha. "„ПАМ’ЯТЬ СВІТУ”: ЗАПИСИ ПРУССЬКОЇ ФОНОГРАФІЧНОЇ КОМІСІЇ ВІД ВІЙСЬКОВОПОЛОНЕНИХ УКРАЇНЦІВ У НІМЕЦЬКИХ ТАБОРАХ ПЕРШОЇ СВІТОВОЇ ВІЙНИ З ФОНДІВ БЕРЛІНСЬКОГО ФОНОГРАМАРХІВУ (ФАКТОГРАФІЧНІ АСПЕКТИ)." Ethnomusic 19, no. 1 (December 2023): 112–42. http://dx.doi.org/10.33398/2523-4846-2023-19-1-112-142.
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The article highlights for the first time the material connected to the sound recordings of Ukrainians from WWI Prisoner-of War Camps in Germany, that were made during 1915-1918 years by the members of the Prussian Phonographic Commission which included Carl Stumpf (the head of the Commission), Georg Schünemann, Wilhelm Doegen among others. This article is a result of the author’s personal research conducted at the Berlin Phonogram Archive and explores the factographic documents that include the data about the sound recordings themselves, the history and process of the creation of the documents and their digital versions made a 100 years after the Prussian Phonographic Commission’s project has started. The research also presents the first results of the analysis of the repertoire recorded from Ukrainian prisoners-of WWI, specifically its culture and genre characteristics.
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Cox, Ph.D., Dale, Raymond Sage, and Joe Mason. "Introducing MTEA Voice and the Development of a Musical Theatre Singing Voice Glossary: Registration." Musical Theatre Educators Alliance Journal 5, no. 2024 (January 1, 2024): 44–55. http://dx.doi.org/10.62392/kiad3870.
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Descriptive language is used in voice teaching and during the rehearsal process to provide feedback and adjustments to performers. Problematically, there is little agreement about what terms describe what sounds. Additionally, a performer may describe a sound differently to their voice teacher, director, or music director. This article has two parts. The first section introduces MTEA Voice with a short history of the development of this community. The second section provides a concise, introductory glossary to terminology regularly used in musical theatre singing, including registration, belt, speech quality, and legit. In addition to these short definitions, some explanatory remarks are provided and recommended recordings for clarification of sounds for both singers and those who work with singers.
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Bakhmatova, M. N. "Центральный институт аудио- и видео наследия Италии: прошлое и настоящее THE CENTRAL INSTITUTE FOR SOUND AND AUDIOVISUAL HERITAGE OF ITALY: THE PAST AND PRESENT." Вестник антропологии (Herald of Anthropology), no. 2022 №2 (June 7, 2022): 310–19. http://dx.doi.org/10.33876/2311-0546/2022-2/310-319.
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В статье рассказывается об истории основания Центрального института аудио- и видео наследия Италии и об эвристических возможностях хранимых в нем источников. Институт берет свое начало из частной коллекции звукозаписей «Голоса великих», переданной в 1927 г. государству. Так как первые фонды состояли преимущественно из аудиоматериалов на граммофонных пластинках, ему было присвоено название «Государственной дискотеки». Благодаря усилиям первого директора фонды стали пополняться и видеоматериалами. Кроме того, Дискотека стала превращаться из хранилища преимущественно пропагандистских материалов в научное заведение по сбору и хранению аудио- и визуальных источников. Благополучно пережив эпоху фашизма, Институт стал крупнейшим центром, в который стекаются материалы таких знаковых музыкальных фестивалей, как «Сан Ремо», богатейшие частные коллекции по итальянскому фольклору, хранятся вещественные источники по истории звукозаписывающих устройств, а также обязательные экземпляры аудио- и видео документов, произведенных в Италии. Кроме того, здесь находится единая точка Доступа к Архиву Визуальной истории Государственного архива, где опубликованы интервью с итальянскими жертвами Холокоста, а также к базе данных Фонда Шоа Стивена Спилберга. Фонды Института представляют значительный интерес для историков, этнологов и антропологов. The paper is dedicated to the history of the creation of the Central Institute for Sound and Audiovisual Heritage of Italy and the exploration of the heuristic possibilities offered by its storage. The foundation of the Institute stems from the legacy of the private collection of audio recordings “The Words of the Greatest”, donated in 1927 to the Italian State. The first name of the Institute was “State Records”, since the first archive mostly consisted of audio recordings on phonograph records. Thanks to the efforts of its first Director, video recordings were added to the collection. Moreover, the archive began to evolve from a deposit of mainly propaganda recordings to a scientific institution for the collection and conservation of audio and video sources. Having successfully survived the Fascist Era, the Institute became the largest center for the collection of recordings coming from different sources, such as the renowned Sanremo music festival, rich private collections of Italian folklore, artifacts from the history of recording instruments, as well as the mandatory copies of all audio and video documents produced in Italy. In addition, the Institute stores the unique access point to the Archives for Visual History of the state archives, which include interviews with the Italian victims of the Holocaust, as well as the databases of the Steven Spielberg Shoah Foundation. The sources of the Institute can be of considerable interest to historians, ethnologists, and anthropologists.
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[凌嘉穗], Ling Jia Sui. "Home-Coming: The Repatriation of Historical Recordings." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 91–96. http://dx.doi.org/10.30819/aemr.7-7.
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This article deals with the provocative questions of repatriating recordings stored in large and small archival institutions, mainly audio or video recordings, to source communities. While this topic is often, disputed within the framework of sound and audio-visual archivists, it is rather rarely, investigated with academic vigor based personal experience in the field of music research. This paper attempts to start closing the knowledge gap and exchange ideas between those with practical experience and those with musicological background but not necessarily intense experiences. The article provides an in-depth understanding of the term ‘home-coming’ and how this term relates to future activities and directions to be considered by museums and archival institutions. These insights might be of great benefit in sustaining and developing today’s archival institutions in Asia and Europe.
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Askeroi, Eirik. "Who is Beck? Sonic markers as a compositional tool in pop production." Popular Music 35, no. 3 (September 14, 2016): 380–95. http://dx.doi.org/10.1017/s0261143016000544.
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AbstractThroughout the history of music recording, the use of certain technologies and instruments has left distinctive marks on recordings – marks that imply an intrinsic relationship between an era and a sound. At the same time, producers and artists have taken advantage of this relationship, constructing and otherwise exploiting what I have elsewhere conceptualised as sonic markers. This study explores how Beck's use of sound as a compositional tool constructs sonic markers that have in turn contributed profoundly to the formation of his musical identity. First, I take into account Beck's use of various pop aesthetics to explore how sonic markers are constructed through appropriation. Second, I offer an assessment of the ways in which Beck's musical identity has been formed from his play with the sonic markers of other eras. Third, I provide an analytical account of ‘Sexx Laws’ (1999) to illustrate how Beck's play with sonic markers of time also informs individual song structure and composition.
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Logominova, I. V., A. V. Agafonov, and V. А. Litvin. "Ethological and Acoustic Studies of Bottlenose Dolphins (Tursiops truncatus ponticus Barabash, 1940) in the Coastal Water Area of the Karadagh Reserve, South-Eastern Crimea." Океанология 63, no. 6 (November 1, 2023): 950–61. http://dx.doi.org/10.31857/s0030157423060096.
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The work is devoted to the study of the bottlenose dolphin community in the coastal waters of the Karadag Reserve (southeastern Crimea). Observations and acoustic recordings were carried out in 2015–2017 and in 2020–2022 As the main method for identifying bottlenose dolphins, we used the method developed by us for acoustic recording of bottlenose dolphins by individual sound signals “signature whistles”. This method of identification makes it possible to fairly accurately count the population, observe the movements of bottlenose dolphins, and also reveal the association of individuals with each other.
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Siefert, Marsha. "Aesthetics, Technology, and the Capitalization of Culture: How the Talking Machine Became a Musical Instrument." Science in Context 8, no. 2 (1995): 417–49. http://dx.doi.org/10.1017/s0269889700002088.
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The ArgumentThis article uses the history of early sound recording technology in the united States between 1878 and 1915 to show how published discourse contributed to the way the talking machine was defined and situated as a commercially viable product. Comparing the published accounts of Edison's phonograph and Berliners gramophone in popular scientific articles between 1878 and 1896 illustrates that technological advances in sound recording technology take on important cultural meanings. Critical to these meanings is the way in which the technological “fidelity” is linguistically transformed into an aesthetic quality, projected and interpreted within demonstrable values of musical culture. Beginning in 1902, the Victor Talking Machine Company, formed to market the gramophone, took advantage of these cultural meanings to claim a technological advantage over Edison's cylinder recorder. Whose voice was recorded became part of the claim to technological superiority. The Victor Company succeeded in capitalizing “Culture” by promoting their recordings of opera stars like Enrico Caruso as technologically and culturally faithful to live musical performance and as a democratically available access to a privileged lifestyle. Thus did the Victor Company use a terrier and a tenor to legitimate their talking machine as an American musical instrument
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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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Polson, Simon. "(Demolishing) Concrete Music." Leonardo Music Journal 23 (December 2013): 55–57. http://dx.doi.org/10.1162/lmj_a_00155.
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The article addresses two pieces of sound art that incorporate field recordings from the site of the Berlin Wall, during the deconstruction of its concrete presence in East Germany. The author examines two pieces as a case study for the consideration of the historical potential of soundscapes and proposes that the developing genre possesses the capability to preserve the sound of history, in ways that are not possible with written sources. The potential problems associated with the works' reevaluation as historical sources and further works that would benefit from similar reconsideration are discussed.
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Briley, Ron. "Sarah Bernhardt in the Theatre of Films and Sound Recordings (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 1 (2005): 86–87. http://dx.doi.org/10.1353/flm.2005.0004.
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Lajic-Mihajlovic, Danka. "Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA." Muzikologija, no. 23 (2017): 239–58. http://dx.doi.org/10.2298/muz1723237l.
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Phonographic recordings made on wax plates by composer Kosta P. Manojlovic and ethnologist Borivoje Drobnjakovic from 1930 to 1932 represent the oldest collection of field sound recordings in Serbia. The biggest part of the collection is preserved at the Institute of Musicology SASA. In 2017 digitalization of the recordings from those plates was completed, which made the sound content of the collection finally available to researchers. This paper presents and analyses the collection as an anthology of historical sound documents, as an incentive for contemporary ethnomusicological research and as an addition to studying the history of ethnomusicology in Serbia. After an elaboration on the prehistory of documentary field recordings of traditional music, it has been pointed to procurement of a phonograph for the Ethnographic Museum in Belgrade in 1930. There were two major expeditions, organized in 1931 and 1932 in what was then known as ?Southern Serbia?, administratively the Vardar Banovina, a province of the Kingdom of Yugoslavia (now Republic of Macedonia and the Autonomous Province of Kosovo and Metohija of the Republic of Serbia). 180 plates were made, less than a third by Drobnjakovic, and all the others by Manojlovic. Further recordings were suspended due to certain problems with masters printing; even some later attempts of dubbing did not give a complete solution. In 1964 the Institute of Musicology SASA was given an incomplete collection. Today it is comprised of 140 wax plates. It has been pointed that, primarily, traditional secular music was recorded, followed by few examples of church music. The collection is represented by the acoustic source, performance formation, repertoire, genre, style. Additionally, gender, age and professions of the singers and players were also discussed. It has been pointed to the potentials of the collection and its relevancy for the research of music and identity relation, music and migration relation, for studies of heritage and activities at the field of preserving traditional music. Given the specificity of the area from which the collection predominantly originates, it can have a significant value for social engagement in overcoming conflicts with music. Finally, the attainability of wax plates now serves as an incentive for reassessing the role of Kosta P. Manojlovic in cultural history and research of traditional music in Serbia and in the region.
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Holmes, Thom. "The Sound of Moog: Using Vinyl Recordings to Reconstruct a History of the Moog Synthesizer." Notes 71, no. 2 (2014): 219–36. http://dx.doi.org/10.1353/not.2014.0146.
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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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Khymytsia, N., and M. Kuchma. "Features of positioning of German university libraries on official websites." Visnyk of Kharkiv State Academy of Culture, no. 60 (December 15, 2021): 43–52. http://dx.doi.org/10.31516/2410-5333.060.04.
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The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.
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Synieokyi, O., and O. Tur. "Space music in socio-cultural retrospective: information analysis of the phonographic heritage of “Hawkwind”." Visnyk of Kharkiv State Academy of Culture, no. 60 (December 15, 2021): 36–42. http://dx.doi.org/10.31516/2410-5333.060.03.
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The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.
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Denisov, Victor. "Udmurt Folklore Material in the Folklore Archives of the Estonian Literary Museum and Its Collectors: A Brief Review." Folklore: Electronic Journal of Folklore 91 (December 2023): 209–14. http://dx.doi.org/10.7592/fejf2023.91.denisov.
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The digitisation and preservation of language and folklore sound collections are highly relevant issues for many archival institutions in the Russian Federation. The folklore archive of the Udmurt Institute of History, Language and Literature in Izhevsk has not been an exception to this. The first folklore and language recordings on analogue magnetic tapes appeared in the early 1960s. In subsequent years, local folklorists and linguists made numerous expeditions to survey all areas of Udmurtia and the neighbouring regions where the Udmurts lived. Estonian researchers also participated in the recording of the Udmurt language and folklore during expeditions both in Estonia and outside. The article covers the joint efforts of Estonian and Udmurt scholars in collecting Udmurt folklore and language materials, which are currently stored at the Estonian Folklore Archives.