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Bibliographies thématiques / Sound recordings – History / Thèses

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Thèses sur le sujet « Sound recordings – History »

Auteur : Grafiati

Publié le 10 mars 2023

Mis à jour le 31 juillet 2025

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1

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

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2

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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3

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 rec

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4

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 Gouveia<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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 fono

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5

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 Bri

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6

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 tech

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7

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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8

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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9

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 sa

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10

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

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11

MAISONNEUVE, Sophie. "Le disque et la musique classique en Europe, 1877-1949 : l'invention d'un médium musical, entre mutations de l'écoute et formation d'un patrimoine." Doctoral thesis, 2002. http://hdl.handle.net/1814/5889.

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Defence date: 16 December 2002<br>Examining board: Prof. John Brewer, supervisor ; Prof. Laurence Fontaine, co-supervisor ; Prof. Jean-Louis Fabiani, external supervisor ; Prof. Dominique Poulot ; Prof. William Weber<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017<br>Ce thèse reconstitue les différentes étapes de la transformation d'une invention technique en médium musical. De l'étonnante " machine parlante " au système audio en passant par 1'" instrument de musique ", il reconstitue la genèse d'un objet et, avec lui, d'un système

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12

Filzen, Sarah. "The history of Cuca Records, 1959-1973 a case study of an independent record company /." 1998. http://digital.library.wisc.edu/1711.dl/FilznHCuca.

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Thesis (M.A.)--University of Wisconsin--Milwaukee, 1998.<br>Online version produced by the University of Wisconsin-Madison Libraries. Title from title screen (viewed Nov. 8, 2001). Includes bibliographical references (leaves 178-183). Online version of the print edition.

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13

Mueller, Darren. "At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz." Diss., 2015. http://hdl.handle.net/10161/9969.

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<p>At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation sh

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14

"A Study of the variety of Cantonese popular songs in Hong Kong." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5886976.

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by Wong Siu Ling, Gabriella.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.<br>Includes bibliographical references (leaves 64-69).<br>Chapter CHAPTER ONE --- INTRODUCTION --- p.1<br>Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6<br>Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15<br>Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23<br>Chapter CHAPTER FIVE --- METHODOLOGY --- p.37<br>Chapter CHAPTER SIX --- FINDINGS --- p.44<br>Chapter CHAPTER SEVEN --- DISCUSSION --- p.52<br>BIBLIOGRAPHY --- p.64<br>Chapter APPENDIX 1 --- List of Big Corporat

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15

Caxeiro, Susana Cristina Belchior. "Immaterial in the Material: A study on 78rpm audio carriers in Portuguese collections." Doctoral thesis, 2021. http://hdl.handle.net/10362/133066.

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In 1887, Emile Berliner patented the gramophone and its flat lateral-cut records, a format that was the basis of the birth of the music recording industry. The aim of this study is to contribute to the history of sound recording and to the preservation of shellac discs through a better knowledge of the material and immaterial aspects of industrial record manufacture during the acoustic period, ca. 1898-1925, through a multidisciplinary approach, combining research methods from ethnomusicology, history of technology and conservation sciences. The first part of this study is dedicated to

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16

"The soundscape of China: the role of HUGO CDs in Chinese cultural memory." 2005. http://library.cuhk.edu.hk/record=b5896411.

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Wong King-chung.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 66-78).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Abstract (Chinese) --- p.ii<br>Acknowledgement --- p.iii<br>Table of Contents --- p.v<br>List of Figures and Tables --- p.vii<br>Chapter Chapter 1´ؤ --- Introduction<br>A New Age of Sound --- p.1<br>Academic Background and Related Studies --- p.2<br>Chinese Music and the Media --- p.4<br>The Present Study and Methodology --- p.5<br>Chapter Chapter 2´ؤ --- SoundScape of China: The Influence of Eth

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17

Jackson, Melveen Beth. "Indian South African popular music, the broadcast media, and the record industry, 1920-1983." Thesis, 1999. http://hdl.handle.net/10413/8883.

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This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify

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18

Scully, Michael F. "American folk music revivalism, 1965-2005." Thesis, 2005. http://hdl.handle.net/2152/3522.

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