Littérature scientifique sur le sujet « Sound recordings – History »
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Articles de revues sur le sujet "Sound recordings – History"
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Gronow, Pekka. « Recording the History of Recording : A Retrospective of the Field ». International Journal for History, Culture and Modernity 7, no 1 (2 novembre 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 (7 février 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 (19 août 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 (2 janvier 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 et Paul F. Castellanos. « Construction and Characterization of a Portable Sound Booth for Onsite Voice Recording ». Medical Problems of Performing Artists 26, no 3 (1 septembre 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 (1 novembre 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 (mai 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, et Kathleen L. Davenport. « Music to Our Ears : Are Dancers at Risk for High Sound Level Exposure ? » Medical Problems of Performing Artists 35, no 4 (1 décembre 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.
Thèses sur le sujet "Sound recordings – History"
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Western, Thomas James. « National phonography : field recording and sound archiving in Postwar Britain ». Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/33113.
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Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like. National phonography was an institutional and technological network; behind the encounter between recordist and recorded lies a complex and variegated mess of cultural politics, microphones, mediality, sonic aesthetics, energy policies, commercial interests, and music formats. The thesis is structured around a series of historical case studies. The first study traces the emergence of Britain's field recording moment, connecting it to the waning of empire, and focusing on sonic aspects of the 1951 Festival of Britain and the recording policies of national and international folk music organisations. The second study listens to the founding of a sound archive at the University of Edinburgh, also in 1951, asking how sound was used in constructing Scotland as an object of study, stockpiling the nation through the technologies and ideologies of preservation. The third study tracks how the BBC used fieldwork - particularly through its Folk Music and Dialect Recording Scheme (1952-57) - as part of an effort to secure the aural border. The fourth study tells the story of The Columbia World Library of Folk and Primitive Music, produced by Alan Lomax while based in Britain and released in 1955. Here, recordings were presented in fragments as nations were written onto long-playing records, and the project is discussed as a museum of voice. The final chapter shifts perspective to the online circulation of these field recordings. It asks what an online sound archive is, hearing how recordings compress multiple agencies which continue to unfold on playback, and exploring the archival silences built into sonic productions of nations. Finally, online archives are considered as heritage sites, raising questions about whose nation is produced by national phonography. This thesis brings together perspectives from sound studies and ethnomusicology; and contributes to conversations on the history of ethnomusicology in Europe, the politics of technology, ontologies of sound archives, and theories of recorded sound and musical nationalisms.
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Mehnert, Alyssa. « Reconsidering McKinney's Cotton Pickers, 1927–34 : Performing Contexts, Radio Broadcasts, and Sound Recordings ». University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535373003017244.
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Lobley, Noel James. « The social biography of ethnomusicological field recordings : eliciting responses to Hugh Tracey's 'The Sound of Africa' series ». Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:42da8899-6f92-4d65-9756-5c2be9656cad.
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This thesis is an ethnographic analysis of a collection of field recordings of music from sub-Saharan Africa: The Sound of Africa series made and published by Hugh Tracey between 1933 and 1973. I analyse the aims, methods, value and potential use of this collection, now held at the International Library of African Music (ILAM), in order to address a gap in the ethnomusicological literature and to begin to develop a critical framework for an evaluation of field recording and aural ethnography. An archival analysis of the collection enables me to trace the scope and intended uses of Tracey’s recordings. Identifying a primary intended audience that has not to date been engaged, I argue for the need to develop a new way to circulate recordings among a source community that has never before been reached through institutional archival practice. I use a small sample of Tracey’s archival Xhosa recordings and develop a method of sound elicitation designed to take the recordings back to urban Xhosa communities in the townships located near ILAM. By circulating archival recordings using local mechanisms in township communities, rather than institutional archival methods, I assess the potential relevance of historical recordings to an urban source community more than fifty years after the recordings were made. Having collected and analysed contemporary Xhosa responses, I consider the limitations and the potential for the recordings to connect with indigenous audiences and generate value. I argue that non-analytical responses to historical recordings may contribute to ethnographic understanding, to people’s own sense of Xhosa identity, and to archiving practice in future. Such responses may help increase our understanding of the relationships between music collectors in the field and the people recorded, whether fifty years ago, today or in future.
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Rezende, André Novaes de. « No caminho das pedras brancas : Alex Steinweiss e o processo de fundamentação de um paradigma para o projeto de capas de discos ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284383.
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Orientadores: Edson do Prado Pfützenreuter, Anna Paula Silva GouveiaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-20T07:52:01Z (GMT). No. of bitstreams: 1 Rezende_AndreNovaesde_D.pdf: 133268389 bytes, checksum: e0ce46145e8906cad7a46c671ea5c52e (MD5) Previous issue date: 2012
Resumo: No fim do século XIX, o diálogo entre as artes visuais e a música abriu precedentes para que as artes aplicadas, ou comerciais, incentivassem o consumo do espetáculo musical. Paralelamente, com o desenvolvimento tecnológico da indústria fonográfica, a música passou a ser gravada e comercializada. A comercialização da música gravada, por sua vez, também foi beneficiada por um interesse de explorar-se uma conexão visual com o conteúdo da gravação. Em 1940, este interesse foi diretamente manifestado pelo designer gráfico norte-americano Alex Steinweiss, quando começou a projetar capas de álbuns de discos de 78rpm para a gravadora Columbia Records. Steinweiss não foi o primeiro artista comercial ou designer gráfico a projetar uma capa ilustrada para álbuns de discos de 78rpm mas, ao projetar capas, foi pioneiro na intenção de exercer uma correspondência semântica com o conteúdo musical dos discos. Esta tese tem como grande objetivo o resgate das principais condições históricas e culturais que ajudaram a caracterizar o trabalho de Steinweiss e que possibilitaram fosse ele incorporado com sucesso pela indústria fonográfica. Por meio do levantamento de tais condições e também do próprio método de projeto de Steinweiss, observou-se que seu sucesso proporcionou o estabelecimento de um paradigma, na medida em que as soluções propostas por ele foram, posteriormente, tomadas como modelo e substituíram as regras vigentes para o projeto gráfico das capas dos álbuns de discos
Abstract: By the end of the nineteenth century, the dialog between visual arts and music was a great influence on the applied arts, or commercial arts, in its own task of promoting the music spectacle. Meanwhile, with the technological development of the music industry, music started to be recorded and commercialized. The recorded music business, moved by its own interests, also explored a visual connection with the recorded musical content of their product. In 1940, the early work of the American graphic designer Alex Steinweiss was a consequence of this interest, as he started to design album covers for 78rpm records while working at Columbia Records. Steinweiss was not the first commercial artist or graphic designer to design illustrated album covers for 78rpm records, but he was the first one who expected to achieve semantic correspondence with the musical content of the record. The main goal of this thesis is to retrieve key historical and cultural conditions that influenced Steinweiss' work and allowed him to succeed as a graphic designer inside the recorded music business. By doing so, and by setting up aspects of Steinweiss' design methods, we have come to the conclusion that his success characterized a paradigm. The solutions he offered were taken as models and replaced the rules that determined how an album cover should be designed
Doutorado
Artes Visuais
Doutor em Artes
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Curran, Terence William. « Recording classical music in Britain : the long 1950s ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Lapp-Szymanski, Jean-Paul. « Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.
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This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).
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Burchfield, Rebekah Lynn. « Pressed between the Pages of My Mind : Tangibility, Performance, and Technology in Archival Popular Music Research ». Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.
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Arvidsson, Kjell. « Skivbolag i Sverige ». Doctoral thesis, Göteborg Handelshögskolan vid Göteborgs Univ, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=016515417&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Straw, Will 1954. « Popular music as cultural commodity : the American recorded music industries 1976-1985 ». Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Terao, Yoshiko. « Le Fixe et le fugitif : thiphaigne, Diderot, Mical, Castel et leurs machines audiovisuelles ». Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2154.
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Après l’invention de l’impression typographique à la Renaissance s’est progressivement imposé un régime de connaissance dans lequel les signes n’ont plus de rapport essentiel avec un monde reconstitué spatialement au moyen des mots sur la page. L’âge classique en général et le XVIIIe siècle en particulier ont souvent été caractérisés par le primat de la vue comme moyen de connaissance, aux dépens des autres sens. C’est du moins une des thèses de Michel Foucault dans Les Mots et les choses.Notre thèse tente de nuancer cette perspective en montrant comment, au sein de la culture écrite dominante, persistent de vestiges de la culture orale traditionnelle ; non pas dans les manifestations plus ou moins archaïques de la culture populaire (farces, fêtes, foires, contes bleus), mais dans ce qui pourrait sembler une manifestation de la modernité même des Lumières : les machines. Le XVIIIe siècle a été fertile en dispositifs visant à produire des sons ou des images, et à les enregistrer. Parmi ceux-ci, nous avons particulièrement retenu les inventions, réelles ou imaginaires, de Tiphaigne de La Roche (surveillance auditive et fixation des images), de Diderot (composition automatique et conservation des pièces musicales), de l’abbé Mical (reproduction de la voix humaine) et du père Castel (enregistrement visuel des sons). En étudiant tant le détail de ces dispositifs que le contexte idéologique qui les a vu naître, nous essayons de montrer comment les Lumières ont été ouvertes à des formes variées d’appréhension du monde. Aujourd’hui, le développement de nouveaux moyens de communication nous familiarise à nouveau avec des modes de représentation plus analogiques que l’écriture. Les tensions propres au régime médiatique du XVIIIe siècle nous donnent des indices pour réfléchir aux problèmes actuels de la connaissanceAfter the invention of the printing press in the Renaissance, knowledge became progressively based on the use of signs with no essential relation with things, spatially reconstructed with words on the page. The classical age in general and the eighteenth century in particular have often been characterized by the primacy of sight as a means of knowledge, at the expense of other senses. Such is at least one of Michel Foucault’s arguments in the Order of Things.Our thesis strives to qualify this perspective and show how, within the domination of the written culture, remnants of the traditional oral culture survived. Not only in the archaic forms of popular entertainment such as fairs, farces and fairy tales, but in what might be considered as the epitome of modernity: machines. The eighteenth century was a hot bed of contraptions aiming to produce sounds and images and to record them. Among these, our attention has focused on the real or imaginary inventions of Tiphaigne de La Roche (audio monitoring and fixation of images) Diderot (automatic production and conservation of musical pieces), Abbé Mical (reproduction of the human voice) and Father Castel (visual transposition of sounds). The careful examination of such machines as well as the ideological context of their emergence, enables us to show how the Enlightenment was open to forms of comprehension of the world much more varied than is often stated.Today the development of new media has made us familiar again with modes of representation which are more analogical than words. The tensions proper to the media system of the eighteenth century provide us with instruments to think about our relation to the world around us
Livres sur le sujet "Sound recordings – History"
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Mori, Yoshihisa. Onkyō gijutsushi : Oto no kiroku no rekishi. Tōkyō : Tōkyō Geijutsu Daigaku Shuppankai, 2011.
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Tou kyriou tou hē phōnē : Historia tēs diskographias. Athēna : Metronomos, 2010.
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Simon, Géza Gábor. Magyar hanglemeztörténet : (100 éves a magyar hanglemez, 1908-2008). Budapest : Jazz Oktatási és Kutatási Alapítvány, 2008.
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Rhein, Eduard. 100 Jahre Schallplatte. Berlin : Presse- und Informationsamt des Landes Berlin, 1987.
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"His Master's Voice" : Die Geschichte der Schallplatte. Berlin : Parthas, 2011.
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Thérien, Robert. L' histoire de l'enregistrement sonore au Québec et dans le monde, 1878-1950. [Sainte-Foy, Québec] : Presses du l'Université Laval, 2003.
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Lippus, Urve, et Kadri Steinbach. Eesti helisalvestised 1939 : Estonian sound recordings 1939. Tallinn : Eesti Muusika- ja Teatriakadeemia, 2009.
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L'invention du disque 1877-1949 : Genèse de l'usage des médias musicaux contemporains. Paris : Archives contemporaines, 2009.
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Smith, Jacob. Spoken word : Postwar American phonograph cultures. Berkeley : University of California Press, 2011.
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Imperial War Museum. Sound Archive. The Special Operations Executive : Sound archive, oral history recordings. London : Trustees of the Imperial War Museum, 1998.
Trouver le texte intégralChapitres de livres sur le sujet "Sound recordings – History"
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Siefert, Marsha. « Entrepreneurial Tapists ». Dans Music and Democracy, 19–60. Vienna, Austria / Bielefeld, Germany : mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-002.
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This article takes a participatory approach to the reproduction of live music performance by looking at the history of »bootleg« sound recordings in two formations during the 1960s and 1970s. The first builds on the history of how opera lovers, mostly in concert and sometimes in conflict with formal opera institutions and commercial recording companies, created their own community for reproduced live opera performances through surreptitious live recording, record producing, distributing, cataloging, trading, and collecting. Marsha Siefert relates these activities to the world of magnitizdat, the live music recordings in the U.S.S.R. that were also reproduced and circulated through trusted networks. The aim of looking at both of these twentieth-century forms of music reproduction is to ask questions about how music listeners responded to perceived limitations of formal music industries by creating participatory networks that identified, reproduced, and circulated recorded music that corresponded to their preferences and ideas about authenticity, aesthetics, and direct experience before the internet age.
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Monrose, Kenny. « Sound-Tapes and Soundscapes : Lo-Fi Cassette Recordings as Vectors of Cultural Transmission ». Dans Palgrave Studies in the History of Subcultures and Popular Music, 143–62. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55161-2_8.
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Pavan, Gianni, Gregory Budney, Holger Klinck, Hervé Glotin, Dena J. Clink et Jeanette A. Thomas. « History of Sound Recording and Analysis Equipment ». Dans Exploring Animal Behavior Through Sound : Volume 1, 1–36. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97540-1_1.
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AbstractOver the last 100 years, there has been an explosion of research in the field of animal bioacoustics. These changes have been facilitated by technological advances, decrease in size and cost of recording equipment, increased battery life and data storage capabilities, the transition from analog-to-digital recorders, and the development of sound analysis software. Acousticians can now study the airborne and underwater sounds from vocal species across the globe at temporal and spatial scales that were not previously feasible and often in the absence of human observers. Many advances in the field of bioacoustics were enabled by equipment initially developed for the military, professional musicians, and radio, TV, and film industries. This chapter reviews the history of the development of sound recorders, transducers (i.e., microphones and hydrophones), and signal processing hardware and software used in animal bioacoustics research. Microphones and hydrophones can be used as a single sensor or as an array of elements facilitating the localization of sound sources. Analog recorders, which relied on magnetic tape, have been replaced with digital recorders; acoustic data was initially stored on tapes, but is now stored on optical discs, hard drives, and/or solid-state memories. Recently, tablets and smartphones have become popular recording and analysis devices. With these advances, it has never been easier, or more cost-efficient, to study the sounds of the world.
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Trower, Shelley. « From Mayhew’s Street Voices to Oral History ». Dans Sound Writing, 17—C1P68. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190905996.003.0002.
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Abstract This chapter considers how a range of authors in Britain, from Mayhew and Dickens in the nineteenth century to Evans among other early oral historians in the twentieth, recorded and creatively transformed voices in print. It also considers ways in which such voices can be audible to readers. In addition, the chapter traces disciplinary connections between journalism, ethnography, folklore, literature, and oral history. It considers how sound recording technologies shifted the focus from recording speech in writing to the editing of already-recorded voices. Oral historians after the mid-twentieth century increasingly argued that sound recordings should be preserved, and that written versions should also convey something of the sonority of speech while avoiding distortion of what interviewees said, but there are also benefits from more heavily editing spoken words into printed forms, which can, for example, make a speaker’s meaning more comprehensible to readers.
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« LIST OF THE SOUND RECORDINGS DISCUSSED ». Dans Listening to Colonial History. Echoes of Coercive Knowledge Production in Historical Sound Recordings from Southern Africa, 152. Basler Afrika Bibliographien, 2023. http://dx.doi.org/10.2307/jj.8275995.8.
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Askerøi, Eirik. « Sound i historisk perspektiv : oppdagelse, naturalisering, kanonisering ». Dans Music Technology in Education, 53–73. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.108.ch2.
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This chapter addresses technological development as a driving force of musical development during the history of recorded music. The study is organized around three moments, which in various ways have contributed to forming new ways of producing music, and thereby also have left their audible marks on the sound of the music. The first example demonstrates how the development of the electric microphone contributed to new vocal expressions already in the 1930s. The second example takes up how magnetic tape technology has affected the status of recording, the possibility of multitrack recording and for experimenting with the sound of new, virtual spaces in recordings. The third example is the gated reverb on drums, which left a definitive mark on the sound of the 1980s. The overall aim of this chapter, then, is to provide an inroad to understanding the concept of sound in a historic perspective, through processes of discovery, naturalisation and canonisation.
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Spottswood, Dick. « Greek Record Making in the Early Days, 1896–1937 ». Dans Greek Music in America, 295–300. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0014.
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Richard K. Spottswood, who is respected by scholars, record collectors and music enthusiasts for his ground-breaking work documenting sound recordings of ethnic music, focuses on “Greek Record Making in the Early Days, 1896-1937. ”Early recording companies not only documented musical expression, but distributed music and were were an enormous influence on the tastes of the public. Spottswood recounts the history of recording activity, recording companies, major artists, instruments, and genres in Greece, Turkey, and the United States.
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Macklem, Michelle. « Noisy Feeds ». Dans The Oxford Handbook of Radio and Podcasting, 263–78. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197551127.013.14.
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Abstract This chapter critically analyzes the place of noncommercial podcasting created by artists and makers who use sound to examine their environments, identity, and interconnectedness. The chapter traces the history of early field recordists from their association with colonial practices to the use of field recording to subvert these practices and create Indigenous agency. It argues that new audio devices and platforms have made it easier to share and connect personal recordings and to record complex spur-of-the-moment acts of witnessing. The chapter draws on primary research with artists and practitioners in the field who are actively using podcasts as a method of disseminating their work or building community around shared values of listening and building greater understanding and mutual belonging.
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VanCour, Shawn. « Confronting the Inaudible Past ». Dans The Oxford Handbook of Radio and Podcasting, 707–32. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197551127.013.37.
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Abstract This chapter explores methodological challenges to reconstructing sounds of radio programs for which no known recordings survive. Taking as its case study the nation’s first successful musical variety program, created in 1922 by film impresario Samuel Rothafel and broadcast from New York’s Capitol Theatre, the chapter uses archival documents to plug gaps in extant sound collections and recover otherwise lost sounds of US radio history. Pursuing an archaeological approach, it shows how producers adapted film and vaudeville techniques to cultivate presentational styles tailored to radio’s perceived sonic demands and capabilities. Offering a method extensible to other radio genres and time periods, this document-based approach proves equally useful for analyzing more recent forms of digital soundwork for which extant recordings may prove in similarly short supply.
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« Afterword ». Dans Knowing by Ear, 147–56. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059028-006.
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The afterword discusses the concept of “knowing by ear,” the performative capacities of voice, and how sound archives transfer different takes on colonial history. Arguing that the Lautarchiv in Berlin, despite growing attention, is still a sequestered space, the author suggests that its spoken histories should enter public spaces as sound installations and exhibitions more often. She discusses recent artistic interventions as well as her own exhibition of historical recordings in Hamburg (2019). Using an understanding of echo as a concept for thinking with sound in/as histories, the author argues for the restitution of acoustic collections to their countries of origin.
Actes de conférences sur le sujet "Sound recordings – History"
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Murphy, Jim, Dugal McKinnon et Mo H. Zareei. « Lost Oscillations : Exploring a City’s Space and Time With an Interactive Auditory Art Installation ». Dans The 22nd International Conference on Auditory Display. Arlington, Virginia : The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.019.
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Lost Oscillations is a spatio-temporal sound art installation that allows users to explore the past and present of a city’s soundscape. Participants are positioned in the center of an octophonic speaker array; situated in the middle of the array is a touch-sensitive user interface. The user interface is a stylized representation of a map of Christchurch, NewZealand, with electrodes placed throughout the map. Upon touching an electrode, one of many sound recordings made at the electrode’s real-world location is chosen and played; users must stay in contact with the electrodes in order for the sounds to continue playing, requiring commitment from users in order to explore the soundscape. The sound recordings have been chosen to represent Christchurch’s development throughout its history, allowing participants to explore the evolution of the city from the early 20th Century through to its post-earthquake reconstruction. This paper discusses the motivations for Lost Oscillations before presenting the installation’s design, development, and presentation.
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Bressan, Federica. « Philology in the preservation of audio documents ». Dans SOIMA 2015 : Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.2.10.
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Sound recordings have proven to be irreplaceable primary sources for disciplines like linguistics, musicology, ethnomusicology and sociology. Their fragile physical nature has activated a number of counter-actions aimed at prolonging the life expectancy of their content. Methodological issues have been raised in the past three decades, considering the relationship between the physical object and its (digitized) intangible content, which is not only complex but develops over time. This article re ects on the role of the emerging discipline known as ‘digital philology’ in the long- term preservation of audio documents, pointing out how some concepts (such as authenticity, reliability and accuracy) may require a ‘customized’ (as opposed to a ‘ready-made’) approach in the preservation work ow – mainly depending on the type of the archive: unique copies, eld recordings, electronic music, oral history, to name some representative cases. The set-up of the laboratory for sound preservation at the Centro di Sonologia Computazionale (CSC) of the University of Padova, Italy, represents one customized approach in which conscious methodological decisions support philologically informed digitization e orts. The methods affect the results, and ultimately the consequences are not merely technological but cultural.
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Trаtsiak, A. I. « THE 100-YEAR HISTORY OF THE NATIONAL LIBRARY OF BELARUS IN THE AUDIO-VISUAL DOCUMENTS OF THE BELARUSIAN STATE ARCHIVES OF FILMS, PHOTOGRAPHS AND SOUND ». Dans LIBRARIES IN THE INFORMATION SOCIETY : PRESERVING TRADITIONS AND DEVELOPING NEW TECHNOLOGIES. УП «ИВЦ Минфина», 2022. http://dx.doi.org/10.47612/978-985-880-283-7-2022-310-324.
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The National Library of Belarus (originally the State Library of the BSSR named after V.I. Lenin) is a research center in the field of library science, bibliography, and book science. Besides, it is the national coordinating, scientific and methodological center in the library field. The National Library of Belarus is the leading organization in the field of information resources, which forms the intellectual potential of the Belarusian nation. In the funds of the Belarusian State Archives of Films, Photographs and Sound Recordings the history of the development of the National Library is widely represented by audiovisual documents, such as photo chronicles of the Telegraph Agency of the Soviet Union and the Belarusian Telegraph Agency; photos by the republican newspapers; short films of the 1930s. Furthermore, the information about the library can be found in film magazines “Savetskaya Belarus” (Soviet Belarus), "Naviny dnya" (News of the Day) and TV programmes “Padzeі Kulturnogo Zhyccja” (News of Cultural Life), “Kontury” (Contours), “Nedelya” (Week), in a documentary video film “Skarbnitsa Slova” (Word Treasure) and sound recordings of Belarusian radio broadcasts and radio programs from the cycle “I Love My City”, Radio Minsk.
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Neyrinck, Jorijn, et Ellen Janssens. « Documenting ICH in sound and image ». Dans SOIMA 2015 : Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.04.
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Documentation of intangible cultural heritage (ICH) poses a series of new questions and challenges within the heritage practice. How do we document a heritage that is alive, through the heads, hands and practices of people? Heritage that is neither tangible nor fixed but intangible and dynamic. Heritage that lives within a community, which by its active practice also acts to transmit and realize a future for this living heritage. Such living heritage processes require different, explicitly participatory and dynamic approaches for documentation – for which audiovisual forms of recording seem appropriate. This article unravels the conceptual confusion between different ‘intangible’ heritage practices and then looks at examples of practice in Flanders and in existing related research methods such as visual anthropology and oral history.
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Smirnova Henriques, Anna, Pavel A. Skrelin, Vera V. Evdokimova, Maria Cristina Borrego et Sandra Madureira. « THE PRODUCTION OF BRAZILIAN PORTUGUESE MID VOWELS BY RUSSOPHONE MIGRANTS IN BRAZIL ». Dans 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.29.
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The history of Russophone immigration to Brazil began in the 19th century. The last wave of Russophone immigration to Brazil began after the USSR’s collapse and continues up to this day. There are few opportunities to study Portuguese in Russia, and many Russophones study Brazilian Portuguese (BP) on their own after arriving in Brazil. They learn the language in a naturalistic way and do not have any special knowledge of the BP phonetics. One important difficulty of Russophones who learn BP is to perceive and produce the contrast between open and closed mid vowels. In Portuguese, the contrasts in the pairs /ε/ — /e/ and /ɔ/ — /o/ are of fundamental importance and determine the difference in the semantic meaning of words, for example, in some homograph pairs that consist of a verb conjugated in the first-person singular of the present tense and a related noun. The aim of this work is to characterize the production of BP mid vowels by Russophone immigrants in Brazil. In this work, we analyzed the audio recordings of the words bebe [‘bεbı] ‘he drinks’, bebo [‘bebʊ] ‘I drink’, posso [‘pɔsʊ] ‘I can’ и poço [‘posɔ] ‘a well’, produced by 11 native BP speakers and 15 Russophones. For the Russophones, these was no difference between the F1 mean values of the vowels produced in the word pairs containing the two contrasting Portuguese mid vowels. The results of this study provide a base for developing strategies to improve the pronunciation of BP sounds by Russian speakers. Refs 31.
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Abdelaal, Khaled, Ken Atere, Keith LeRoy, Aaron Eddy et Russell Smith. « Holistic Real-Time Drilling Parameters Optimization Delivers Best-in-Class Drilling Performance and Preserves Bit Condition - A Case History from an Integrated Project in the Middle East ». Dans SPE Canadian Energy Technology Conference. SPE, 2022. http://dx.doi.org/10.2118/208958-ms.
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Abstract After drilling in the Gulf area of Middle East for approximately nine months, the operation’s project team struggled to find a consistent and repeatable roadmap for significant rate of penetration (ROP) improvements. The team was relying on the driller to manually control the ROP, weight on bit (WOB), differential pressure, pump pressure, and torque. Regardless of the driller’s experience, it is difficult for a single person to successfully monitor and adjust for multiple and continuously changing variables in real time. Extreme variation and lack of control on drilling parameters (such as WOB, torque, and differential pressure) prevented repeatable ROP improvements, despite having a sound drilling plan. To solve this problem, the team tasked a third party to 1) deploy its electronic drilling recorder (EDR) to improve data quality, 2) integrate its multi-parameter DAS™ system into the rig’s programmable logic controls (PLC) system, and 3) deploy drilling optimization software solutions in real time. The overall objective was to build a decision-supporting tool to overcome the main ROP limiters through proper identification and mitigation, thus yielding higher ROP and creating newly optimized drilling parameters for future wells. A pilot program consisting of two rigs and six wells per rig (12 wells in total) was executed utilizing this new approach. Over each section of each well, the team followed a traditional continuous improvement cycle of "Identify– Plan – Execute – Review". The EDR was able to accurately identify and record the drilling control limits (such as for ROP, WOB, torque, or differential pressure). The DAS system was also able to demonstrate improved control of WOB, ROP and, torque limits, and target differential pressures. Delivering this information in real time encouraged conversations around modifications to the existing well plan. During post-well analysis, the data allowed the optimization team to clearly identify the limiter of each hole section for changes in future well planning. A flexible dashboard platform was utilized to assist the optimization team by developing enhanced graphics to improve the visibility and accuracy of the real-time performance monitoring. These dashboards target critical operations and allow more data to be taken into consideration, thus providing a more holistic and structured decision-making process. The pilot program showed measurable improvement in several areas. Overall, on-bottom ROP improved by 10.5%, shoe track drill-out times were reduced by 31%, and physical inspections showed significant reductions in bit wear. Additionally, the higher quality of data recording contributed to a noticeable improvement on processing multiple data-analytics modules. This paper describes the challenges and step-by-step chronology of solutions deployed to achieve continuous improvement and to maximize ROP by effectively focusing on process execution. The knowledge required to execute a fit-for-purpose drilling optimization plan was the objective to the solution described in this work. This paper also provides a holistic view of the entire drilling system, along with insight into drilling parameters that can improve efficiency from planning to the execution phase.
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Ra, Sarah A., et Seung K. Ra. « Cultural Influence in the Digital Age ». Dans 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.91.
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How do we study the cultural impact on urban environments in the digital age? In Charles Renfro’s discussion of the influence of film in his work, he notes that, “any film with an edit has a point of view. It can’t simply be an index of a place”.1 The tools that we use to capture impressions, whether of culture or space, put their own unique filter on the message. As a novel approach to our study abroad course, we looked to investigate the exclusive use of digital media as a tool for students to convey their experiences. The diversity of contemporary Asian cities, with their dynamic juxtapositions of ancient and modern, provide an astounding array of influences to explore. The course enabled students to visit the cities of Tokyo, Seoul, and Hong Kong, with excursions to nearby areas. Visiting both historic and contemporary works of architecture and urban space, we engaged local universities and design offices, and exposed students to alternative perspectives. Students unfolded these cultural influences by exploring and analyzing urban spaces and their relationship with the societies in which they exist, using primarily digital media. With the proliferation of digital tools and social media, study of culture reflects the interactive nature of these media. Through all of the course elements, we also utilized digital media to give students opportunity to shape their educational focus. In their 2013 book Rethinking Pedagogy for a Digital Age, Helen Beetham and Rhona Sharpe note that “Learning is a set of personal and interpersonal activities, deeply rooted in social and cultural contexts. When those contexts change, how people learn changes also”.2 The final component perhaps best highlighted the value of the digital media utilized; students overlaid their digital research (film, photography, and sound recordings) with their peers to map common issues and extrapolate important contemporary themes. The final gallery show exhibits the work of the group through the lens of images and omnibus films revealing contemporary issues.
Rapports d'organisations sur le sujet "Sound recordings – History"
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Meyer, Erik, et Cathleen Balantic. Minidoka National Historic Site : Acoustic monitoring report, 2022. National Park Service, 2024. http://dx.doi.org/10.36967/2303680.
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This study arose from the Minidoka National Historic Site (MIIN) Technical Assistance Request (TAR; #21332), which identified the need for baseline acoustic surveys to understand potential impacts to the acoustic environment from nearby proposed renewable energy development. From September through October 2022, the Natural Sounds and Night Skies Division (NSNSD) gathered acoustic data at one site in MIIN to provide park managers with baseline information about the acoustic environment, including existing ambient sound levels and time-above noise effect levels. Overall, existing median ambient sound levels (LA50) at MIIN were 30.0 dB during the day and 33.1 dB at night. In the ANS-weighted frequency range, the sound level 35 dB (LAeq, 1s), was exceeded 24.2% of the day and 18.2% of the night. All other key sound levels (i.e., 45 dB and above) during the day and night were exceeded less than 4% of the time. Due to an error in the acoustic recording schedule, some NSNSD metrics are not included. As a supplement, a geospatial sound model predicts existing and natural ambient sound levels at MIIN are 32.8 (dBA) and 23.5 (dBA), respectively.
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Paxton, Barton, et Chance Hines. Black rail inventory at Cape Lookout and Cape Hatteras national seashores. National Park Service, 2024. http://dx.doi.org/10.36967/2304485.
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The black rail (Laterallus jamaicensis) is the most secretive of the secretive marsh birds and one of the least understood species in North America. On the east coast, eastern black rails historically bred in tidal and freshwater marshes along the Atlantic coast from Massachusetts, south to Florida. Within the mid-Atlantic region suitable black rail habitat is concentrated in the high marsh along the upper elevational zone of salt marshes. This zone is dominated by salt meadow hay (Spartina patens), saltgrass (Distichlis spicata), and is often interspersed with shrubs such as marsh elder (Iva frutescens) or saltbush (Baccharis hamilifolia). North Carolina has been a stronghold for eastern black rails within the mid-Atlantic region, with the marsh complexes associated with the lower Pamlico sound supporting one of largest concentrations and highest densities of eastern black rails throughout their range. However, even within these marshes, eastern black rail populations have experienced declines marked by reductions in occupied sites and decline in numbers within historic strongholds. Evidenced by increasing confinement to the highest portions of the high marsh in recent years, sea-level rise and increased rates of high marsh inundation are likely a major contributing factor to declines. With the population of eastern black rails declining over 75% in the last 10-20 years, the U. S. Fish and Wildlife Service formally listed the eastern black rail as threatened under the endangered species act on 9 November 2020 (USFWS 2020). To fulfill the need for information to guide management decisions on projects at Cape Lookout and Cape Hatteras National Seashores and to aide in (potential?) future designations of critical habitat, we conducted widespread, systematic surveys for black rails and other secretive marsh birds within the parks during the breeding seasons of 2022 and 2023. A total of 1,222 surveys were conducted at 431 points over the course of 2 years. In addition to recording detections of all focal species, we recorded detections of 6 eastern black rails on North Core Banks where they were not previously known to occur. The population of black rails occupying the high marsh habitat on North Core Banks could account for 5-10% of the North Carolina black rail population and increase the known sites occupied within the state.