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Journal articles on the topic 'Gramophone'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Symes, Colin. "A sound education: the gramophone and the classroom in the United Kingdom and the United States, 1920–1940." British Journal of Music Education 21, no. 2 (2004): 163–78. http://dx.doi.org/10.1017/s0265051704005674.

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The advent of the gramophone transformed the cultural conditions of contemporary music, including the way it was taught. For a considerable period of time, musicians and music educators disparaged the gramophone. The members of the musical appreciation movement were more sympathetic and helped transform the gramophone's educational image during the 1920s and 1930s. They argued that the gramophone, contrary to its detractors, might stem the appeal of popular music. As is clear from the sentiments of those espousing the pedagogic uses of the gramophone – which are analysed in this paper – their

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2

Joshi, G. N. "A concise history of the phonograph industry in India." Popular Music 7, no. 2 (1988): 147–56. http://dx.doi.org/10.1017/s0261143000002725.

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Though gramophones were imported in India before the beginning of the century, this was done privately by a few persons who were very rich and affluent. During their visits to Europe and other Western countries they would buy a gramophone machine for use at home because it was an attractive novelty and a handy medium of entertainment. In 1900 and for quite some time thereafter a gramophone was considered to be a show piece and a status symbol, as only the wealthy elite of the society could afford to possess it. Phonographs were commercially exploited in India only after the establishment of th

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3

Porée, Marc. "Dracula Gramophone." Revue LISA / LISA e-journal, Vol. VII – n°3 (March 1, 2009): 208–21. http://dx.doi.org/10.4000/lisa.104.

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4

Knowles, Sebastian D. G. "Death by Gramophone." Journal of Modern Literature 27, no. 1-2 (2003): 1–13. http://dx.doi.org/10.2979/jml.2003.27.1-2.1.

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5

Kittler, Friedrich, Dorothea von Mucke, and Philippe L. Similon. "Gramophone, Film, Typewriter." October 41 (1987): 101. http://dx.doi.org/10.2307/778332.

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6

Knowles, Sebastian D. G. (Sebastian David Gu. "Death by Gramophone." Journal of Modern Literature 27, no. 1 (2003): 1–13. http://dx.doi.org/10.1353/jml.2004.0060.

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7

Kunej, Drago. "Gramophone Serving Sacred Music?" Musicological Annual 50, no. 2 (2015): 279–91. http://dx.doi.org/10.4312/mz.50.2.279-291.

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Like most activities in the gramophone industry, recording sacred music appears to have been linked with trade and profit. Through the example of gramophone records released by the Ljubljana Cathedral Choir and the Adria Singers from the USA, one can see that favourable market results depended upon a number of factors. By comparing the popularity of recordings of these two choirs, with the number of surviving records, one can conclude that the sale of sacred music lagged behind that of secular.

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8

Konzett, Matthias. "Gramophone, Film, Typewriter (review)." Modernism/modernity 7, no. 2 (2000): 320–21. http://dx.doi.org/10.1353/mod.2000.0039.

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9

Magoun, Alex. "Gramophone, Film, Typewriter (review)." Technology and Culture 42, no. 1 (2001): 174–76. http://dx.doi.org/10.1353/tech.2001.0023.

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10

Cox, Gordon. "‘Changing the face of school music’: Walford Davies, the gramophone and the radio." British Journal of Music Education 14, no. 1 (1997): 45–55. http://dx.doi.org/10.1017/s0265051700003430.

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Between 1922 and 1941 Walford Davies linked music in schools with the relatively new media of the gramophone and the radio. His work with the BBC and the Gramophone Company had immense potential. He believed strongly that teachers using the radio and gramophone could contribute to a significant improvement in the musical life of the nation. At the heart ofDavies's educational mission was a belief in the ability of children to compose their own melodies, Davies achieved a high public profile for his work, but was less successful in developing its detail. His teaching method became predictable,

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11

Männistö-Funk, Tiina. "“They Played it on Saturday Nights in a Barn”." International Journal for History, Culture and Modernity 1, no. 2 (2013): 101–27. http://dx.doi.org/10.5117/hcm2013.2.funk.

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This article studies rural gramophone use in Finland from the 1920s to the 1940s, based on source material of written memories related to the long Nordic tradition of folklore surveys. The characteristic rurality of the Finnish pre-war and war-time society offers an opportunity to study the non-urban appropriation of modern technology and to approach rural modernity as locally produced on the one hand, but crucial to the societal and cultural modernisation processes on the other. The article uses a practice theoretical approach and argues for an understanding of grass-root modernity as a dynam

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12

Fishzon, Anna. "The Operatics of Everyday Life, or, How Authenticity Was Defined in Late Imperial Russia." Slavic Review 70, no. 4 (2011): 795–818. http://dx.doi.org/10.5612/slavicreview.70.4.0795.

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In this article, Anna Fishzon explores how the phenomena of celebrity culture and early sound recording contributed to notions of audientic selfhood in late imperial Russia. Public discussions about celebrities like the Bol'shoi Theater bass Fedor Shaliapin helped forge understandings of sincerity and spoke to contemporary concerns regarding the relationship between fame and artifice, the public persona and the inner self. Fishzon suggests that the emergent recording industry penetrated and altered everyday emotional experience, the arena of work, and the organization of leisure, linking gramo

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13

Pridmore-Brown, Michele. "1939-40: Of Virginia Woolf, Gramophones, and Fascism." PMLA/Publications of the Modern Language Association of America 113, no. 3 (1998): 408–21. http://dx.doi.org/10.2307/463349.

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Virginia Woolf in her last novel, Between the Acts, explores fascism from the vantage of the new physics and of information technology. Her knowledge of the new physics is attested to by myriad diary entries; her knowledge of information technology was largely intuitive. In Between the Acts, she uses a gramophone to brew patriotic emotion and thus to transform a group of British pageant goers into a herd. Ultimately, however, she short-circuits the herd impulse by privileging the audience members' interpretative acts. In the novel, patriotic messages of authority are deliberately adulterated b

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14

Jimenez, Earl Clarence L. "Memories of Sounds: An Archiving Project in Two Aural Communities." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (June 30, 2020): 1–8. http://dx.doi.org/10.30819/aemr.5-1.

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Documentation, collection, and the storage of music and sound is second nature to the discipline of ethnomusicology. Frances Desmore’s iconic photograph (albeit staged) of a gramophone with Blackfoot leader, Mountain Chief in the early 20th century quite accurately depicts a salient feature of the discipline --- the scholar and the local engaged in the recording of music. The technology and the dress have obviously undergone changes but the photograph continues to echo resonantly. As Jaap Kunst has said and quoted by Seeger, “Ethnomusicology could never have grown into an independent science i

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15

DiLeo, Jeffrey R. "Gramophone, Film, Typewriter (review)." Comparatist 25, no. 1 (2001): 176–78. http://dx.doi.org/10.1353/com.2001.0008.

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16

Lubinski, Christina, and Andreas Steen. "Traveling Entrepreneurs, Traveling Sounds: The Early Gramophone Business in India and China." Itinerario 41, no. 2 (2017): 275–303. http://dx.doi.org/10.1017/s0165115317000377.

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During the first global economy, roughly from Western industrialization to World War I, the gramophone, much like other consumer goods, circulated relatively freely around the world. This paper compares the market in India and China asking how gramophone companies established themselves there and focuses on the interaction between Western businesspeople and local partners. The article first shows how agents started exploring strategies for “localizing” music and, second, how in both countries their interaction with local partners was first shaped by curiosity and commercial interest, and later

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17

Rudolf Arnheim and Christy Wampole. "Disciplining the Gramophone, Radio, Telephone, and Television." Modernism/modernity 16, no. 2 (2009): 422–26. http://dx.doi.org/10.1353/mod.0.0100.

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18

PINES, R. "Marcel Journet: The Complete Solo Gramophone Recordings." Opera Quarterly 16, no. 1 (2000): 120–24. http://dx.doi.org/10.1093/oq/16.1.120.

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19

Robichaud, Léon. "Le Gramophone virtuel/The Virtual Gramophone. Bibliothèque nationale du Canada/National Library of Canada. . Le Canada en 78 tours." Revue d'histoire de l'Amérique française 57, no. 2 (2003): 310. http://dx.doi.org/10.7202/009167ar.

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20

Kim, Insuk. "Aspects and Significance of Kosayumbul in Gramophone records." STUDIES IN KOREAN MUSIC 58 (December 30, 2015): 105–25. http://dx.doi.org/10.35983/sikm.2015.58.105.

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21

Gaziev, Idris M. "Early 20th Century Tatar Gramophone Recording: Ibragim Adamantov." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2018): 94–98. http://dx.doi.org/10.17674/1997-0854.2018.3.094-098.

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22

Ashbrook, W. "Maurice Renaud The Complete Gramophone Recordings 1901-1908." Opera Quarterly 15, no. 2 (1999): 324–27. http://dx.doi.org/10.1093/oq/15.2.324.

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23

Jones, Geoffrey. "The Gramophone Company: An Anglo-American Multinational, 1898–1931." Business History Review 59, no. 1 (1985): 76–100. http://dx.doi.org/10.2307/3114856.

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In this article Dr. Jones traces the history of the Gramophone Company—an early British multinational—between 1898 and 1931. Drawing on hitherto untapped archival sources, he provides a detailed narrative of the firm's history while at the same time placing it within the context of British multinational expansion as a whole. Of particular interest is his discussion of the firm's “special relationship” with the American-based Victor Company—a relationship that demonstrates how restrictive international agreements could affect the dynamics of multinational growth.

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24

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 transforme

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25

Tunbridge, Laura. "Singing Translations." Representations 123, no. 1 (2013): 53–86. http://dx.doi.org/10.1525/rep.2013.123.1.53.

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British attitudes toward German-language song repertoire were transformed in the interwar period by a potent combination of politics and technology. The use of translations gained and lost ground; native musicians struggled to compete with international stars; and new listening strategies developed around the gramophone and radio. In the process, notions of cosmopolitan connoisseurship became established that still dominate reception and performance practices today.

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26

REHDING, ALEXANDER. "On the record." Cambridge Opera Journal 18, no. 1 (2006): 59–82. http://dx.doi.org/10.1017/s0954586706002102.

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The score of Kurt Weill's Zeitoper, Der Zar läßt sich photographieren (1928), is void at its centre: the musical and dramatic climax, the ‘Tango Angèle’, only exists as a gramophone recording, played on stage, while the orchestra falls silent. Just as the perennial themes of love and death are relentlessly updated in this farcical opera into their anti-metaphysical modern-day equivalents – sex and political assassination – so the music avails itself of modern media to bring across its McLuhanesque point: the medium is the message. The sound medium matters in two ways: first, the gramophone emp

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27

Al-'Ani, Ibtisam. "(Patience) in the linguistic heritage and religious study of gramophone." Humanities Journal of University of Zakho 2, no. 1 (2014): 139–54. http://dx.doi.org/10.26436/2014.2.1.268.

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28

Kiryukhina, Ljudmila. "Libraries of Byelorussia and aesthetic education." Art Libraries Journal 17, no. 2 (1992): 17–19. http://dx.doi.org/10.1017/s0307472200007768.

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Before becoming an independent state, the Republic of Byelorussia had initiated an extensive programme of aesthetic education which complemented activities elsewhere in the former USSR while stimulating a revival of interest in Byelorussian cultural traditions. Libraries, led by the National Library (now the State Library) at Minsk, contribute to this programme through the provision of publications, by organising or hosting activities, and by working closely with schools. Particular efforts are being made, in association with Melodiya, to improve acquisition of gramophone records. The acquisit

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29

Arif Jafarova, Aytaj. "Our vocal cultural heritage." SCIENTIFIC WORK 61, no. 12 (2020): 143–47. http://dx.doi.org/10.36719/2663-4619/61/143-147.

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All archives have always served the same purpose. The archives preserve the most beautiful examples of cultural heritage. Efforts have been made to transmit historical documents, transcripts, rock inscriptions, manuscripts, manuscripts to future generations, protecting the collections of certain items. One of such archives is the Azerbaijan State Archive of Sound Recordings. Along with other historical monuments, audio and video recordings need to be protected as valuable archival documents. Because they are considered to be one of the spiritual treasures of the people. Key words: archive, vid

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30

Kim, Min-Ji and Park, Haerina. "Research on ‘Chwipo-mu’ that is Contained in 1930s Gramophone Record." Journal of Korean Dance 37, no. 4 (2019): 23–49. http://dx.doi.org/10.15726/jkd.2019.37.4.002.

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31

Qureshi, Regula Burckhardt. "His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia." Popular Music 18, no. 1 (1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.

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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this m

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32

Damien Keane. "Quotation Marks, the Gramophone Record, and the Language of the Outlaw." Texas Studies in Literature and Language 51, no. 4 (2009): 400–415. http://dx.doi.org/10.1353/tsl.0.0035.

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33

Natzén, Christopher. "‘Listen to that gramophone’ – Part-talkie production at AB Svensk Filmindustri." Journal of Scandinavian Cinema 2, no. 2 (2012): 177–90. http://dx.doi.org/10.1386/jsca.2.2.177_1.

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34

Stallmann, Christoph F., and Andries P. Engelbrecht. "Gramophone Noise Detection and Reconstruction Using Time Delay Artificial Neural Networks." IEEE Transactions on Systems, Man, and Cybernetics: Systems 47, no. 6 (2017): 893–905. http://dx.doi.org/10.1109/tsmc.2016.2523927.

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35

Lajic-Mihajlovic, Danka, and Smiljana Djordjevic-Belic. "Singing with gusle accompaniment and the music industry: The first gramophone records of gusle players` performances (1908−1931/2)." Muzikologija, no. 20 (2016): 199–222. http://dx.doi.org/10.2298/muz1620199l.

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The gramophone record industry had developed in the Yugoslav region from the beginning of the 20th century. The paper is based on an analysis of the corpus of 78 rpm records of singing with gusle accompaniment, which were produced between 1908 and 1932. Available recordings highlight the issue of representing both the epic and the gusle playing tradition in this media format and its relationship with ?unmediated? live gusle playing practice. Therefore the authors opted to analyze gramophone records as both a text in culture and an actor in tradition. After introductory theoretical and methodol

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36

Lowood, Henry. "THE HARD WORK OF SOFTWARE HISTORY." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 2, no. 2 (2001): 141–60. http://dx.doi.org/10.5860/rbm.2.2.199.

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A few years ago, the literary and media historian Friedrich Kittler opened an essay called “There Is No Software” with, in his own words, a “rather sad statement.” In his view, “the bulk of written texts—including this text—do not exist anymore in perceivable time and space but in a computer memory’s transistor cells.” From a scholar who, until then, had situated the cultural meaning of literary texts in discourse networks dependent on technologies of inscription (writing, gramophone, typewriter, computer) and the materiality of communication, this remark captures the essence of a significant

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37

Keppy, Peter. "Southeast Asia in the age of jazz: Locating popular culture in the colonial Philippines and Indonesia." Journal of Southeast Asian Studies 44, no. 3 (2013): 444–64. http://dx.doi.org/10.1017/s0022463413000350.

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Referencing insights from Cultural Studies and taking a jazz-age perspective, this essay aims to historicise and ‘locate the popular’ in colonial Indonesia and the Philippines. A new cultural era dawned in the 1920s urban hubs of Southeast Asia, associated with the creation of novel forms of vernacular literature, theatre, music and their consumption via the print press, gramophone, radio broadcasting and cinema. By investigating the complex relationship between the elusive phenomena of modernity, cosmopolitanism and nationalism as articulated by two pioneering artists active in commercial mus

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38

Kunej, Drago. "France Marolt’s Endeavours to Sound Document Folk Music." Musicological Annual 56, no. 2 (2020): 107–35. http://dx.doi.org/10.4312/mz.56.2.107-135.

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The paper presents France Marolt’s endeavours spanning many years to acquire the recording devices that he planned to use for documenting folk music in the field, as well as for his research work and various forms of educational and cultural activities. The main focus is on researching the circumstances in which sound recordings on gramophone records were made in collaboration with Radio Ljubljana, and on the first sound collection of the Institute of Ethnomusicology ZRC SAZU, which consisted of these records. The records have a special documentary value and, combined with archival documents,

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39

Satz, Aura. "Music of Its Own Accord." Leonardo Music Journal 20 (December 2010): 73–78. http://dx.doi.org/10.1162/lmj_a_00015.

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The disembodied hands of spiritualist sittings touched people and levitated objects but also strummed guitars, rang bells, played closed pianos and accordions in cages. Likewise, the mechanical music machines of the time (orchestrions, pianolas, etc.) seemed animated by invisible fingers. Highlighting the historical and haptic parallels between these manifestations, the author addresses the lack of a visible performing body, which remains implicit through the invisible animating agency. She looks at the moment before music became abstracted into the grooves of the gramophone, when music still

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40

Choi, Ho-suk. "A Study on the Gramophone Record that were based on Classical Novels." STUDY OF THE EASTERN CLASSIC 63 (June 30, 2016): 221–52. http://dx.doi.org/10.16880/sec.2016.63.08.221.

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41

Kunej, Rebeka. "STARE GRAMOFONSKE PLOŠČE KOT ETNOKOREOLOŠKO GRADIVOOLD GRAMOPHONE RECORDS AS AN ETHNOCHOREOLOGICAL RESOURCE." Traditiones 43, no. 2 (2014): 119. http://dx.doi.org/10.3986/traditio2014430206.

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42

Volgsten, Ulrik. "A technology and its vicissitudes: playing the gramophone in Sweden 1903–1945." Popular Music 38, no. 2 (2019): 219–36. http://dx.doi.org/10.1017/s0261143019000060.

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AbstractThis inquiry deals with the changing role of the technology and the use of phonographs and gramophones during the first half of the 20th century. Rather than looking at the UK or USA, which much previous research has done, the focus is on peripheral Sweden. More specifically the question is how phonography turned from being a scientific curiosity into becoming an everyday media technology, and how it thereby influenced culture and everyday musical communication. The findings show two distinct approaches to recorded music, which intermingle in today's unprecedented musicalisation of cul

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43

Weidman, A. "Guru and Gramophone: Fantasies of Fidelity and Modern Technologies of the Real." Public Culture 15, no. 3 (2003): 453–76. http://dx.doi.org/10.1215/08992363-15-3-453.

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44

Sterrett, Susan G. "Pictures of sounds: Wittgenstein on gramophone records and the logic of depiction." Studies in History and Philosophy of Science Part A 36, no. 2 (2005): 351–62. http://dx.doi.org/10.1016/j.shpsa.2005.04.002.

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45

Henstock, M. E. "Tito Schipa: The Early Years The Complete Gramophone and Pathe Recordings1913-1921." Opera Quarterly 15, no. 4 (1999): 754–58. http://dx.doi.org/10.1093/oq/15.4.754.

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46

Kunej, Drago. "Intertwinement of Croatian and Slovenian Musical Heritage on the Oldest Gramophone Records." Narodna umjetnost 51, no. 1 (2014): 131–53. http://dx.doi.org/10.15176/vol51no107.

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47

Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi." Studia Musicologica 58, no. 2 (2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.

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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest

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48

Morat, Daniel. "The Sound of a New Era: On the Transformation of Auditory and Urban Experience in the Long Fin de Siècle, 1880–1930." International Journal for History, Culture and Modernity 7, no. 1 (2019): 591–609. http://dx.doi.org/10.18352/hcm.573.

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In his 1930s memoir ‘Berlin Childhood around 1900’, Walter Benjamin recollects the ringing of the telephone as a sound that sharply interrupted the quiet of his middle-class family home and signalled the beginning of a new era. Following Benjamin’s lead, the article retraces the decades around 1900 as an era of transformation in which fundamental changes in the urban environment, in society and technology also lead to a crucial change of auditory experience. The new sounds of this era, from telephone rings to city noises to gramophone recordings, and the ways in which contemporaries dealt with

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49

Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil dra

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50

Yoon, Ilhwan. "Derrida’s Ethics As a Responsible Response: ‘Ulysses Gramophone: Hear Say Yes in Joyce.’." Journal of Modern British and American Language and Literature 33, no. 1 (2015): 355. http://dx.doi.org/10.21084/jmball.2015.02.33.1.355.

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