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Journal articles on the topic 'Sound recording industry – History'

Author: Grafiati

Published: 10 March 2023

Last updated: 31 July 2025

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1

Gronow, Pekka. "Recording the History of Recording: A Retrospective of the Field." International Journal for History, Culture and Modernity 7, no. 1 (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 t

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2

Dauterive, Jessica, Matthew B. Karush, and Michael O’Malley. "Hearing the Americas: Understanding the Early Recording Industry with Digital Tools." Journal of the Gilded Age and Progressive Era 22, no. 4 (2023): 427–51. http://dx.doi.org/10.1017/s1537781423000178.

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AbstractThis article describes the methods and arguments of Hearing the Americas, a digital public history project that illuminates the history of popular music and the recording industry from 1890 to 1925. We argue that the use of digital tools allows the website to integrate sound directly into writing on music and thereby explicate a series of historical arguments. The article examines three arguments advanced by Hearing the Americas, showing in each case how digital tools generate new insights. The first case uses mapping to reveal some of the specific ways in which the economic and social

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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.

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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland &ldquo;Jass&rdquo; Band from New Orleans is known in history as the first jazz record. There&rsquo;s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was no

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (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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Večerníková, Lucie, Filip Šír, and Tomáš Slavický. "Eduard Jedlička: Americký sen zlatníka z Moravy." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 40–49. http://dx.doi.org/10.37520/mmvp.2022.005.

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In the collections of the earliest phonograph cylinders held by American memory institutions, a remarkable set of recordings with Czech content can be found under the title of Jedlička Records, derived from the name of Eduard Jedlička (1867–1944), a Czech immigrant to the US. The authors of the study present for the first time the story of the Moravian native who left his homeland in 1895 to pursue his American dream. Jedlička Records represent a valuable example of Czech (mostly traditional folk) songs popular among the Czech minority in the early 20th century. They also represent a significa

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Horning, Susan Schmidt. "Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919 (review)." Technology and Culture 47, no. 3 (2006): 651–53. http://dx.doi.org/10.1353/tech.2006.0181.

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Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history." Organised Sound 22, no. 2 (2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.

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The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, som

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8

Hepokoski, James. "“Listen and Be Amazed!”: Odeon, Künneke, and the First Recordings of Complete Symphonies." Journal of the American Musicological Society 76, no. 1 (2023): 113–67. http://dx.doi.org/10.1525/jams.2023.76.1.113.

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Abstract Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–December 1911), and then Haydn’s Symphony no. 94 (“Surprise”) and Mozart’s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company’s orchestra, billed as the “Großes Odeon-Streich-Orchester.” While no conductor is identified on the labels, it was surely Eduard Künneke, Odeon’s house condu

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Aliyari, Mahdi. "Evaluating The Efficiency of Contractor's Guidelines in Improving the Success of Construction Projects." International journal of Modern Achievement in Science, Engineering and Technology 1, no. 3 (2024): 1–8. http://dx.doi.org/10.63053/ijset.39.

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In the construction industry, the guidelines of contractors play a crucial role in improving the success of construction projects. Contractors have significant responsibilities in a construction project, including measurement, recording, and supervision of dimensions and work quality. In general terms, a contractor is responsible for planning, leading, executing, supervising and inspecting a building construction project. The responsibility extends from the beginning to the end of the project, regardless of its scope. Overall contractors are responsible for fulfilling the contract Which makes

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10

Beskorsyi, V. "The spatial sound field of a screen work: a retrospective analysis." Culture of Ukraine, no. 89 (June 20, 2025): 153–63. https://doi.org/10.31516/2410-5325.089.15.

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The relevance of the research topic. The issue of the spatial dimension of an audiovisual work has not lost its relevance since the emergence of sound recording and sound engineering, that is, since the beginning of the XX century. It is the study of the historical development of sound recording of musical texts that has become the basis for the analysis of the spatial sound field of screen works. The development of modern surround sound systems opens up new opportunities for the implementation of the authorial idea for authors of audiovisual works due to the expansion of the visual and expres

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Scales, Rebecca P. "Subversive Sound: Transnational Radio, Arabic Recordings, and the Dangers of Listening in French Colonial Algeria, 1934–1939." Comparative Studies in Society and History 52, no. 2 (2010): 384–417. http://dx.doi.org/10.1017/s0010417510000083.

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In November of 1934, Algerian Governor General Jules Carde asked the Algiers Police Prefecture to investigate a rumor circulating through the French bureaucracy that “natives” in the Arab cafés (café maures) of the city were tuning in to biweekly Arabic broadcasts transmitted by an unspecified Italian radio station that featured “commentaries unfavorable to France” and “openly attacked France's Muslim policy.” As the governor of three overseas Frenchdépartements, Carde had already received notification that the airwaves over North Africa were becoming dangerous. A few months earlier, Jean Bert

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Ms., Sakshee Satish Kadam. "Entertainment And Media: Safeguarding Innovation Through Intellectual Property." International Journal of Advance and Applied Research S6, no. 13 (2025): 97–103. https://doi.org/10.5281/zenodo.14912869.

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<em>In the entertainment sector, which is renowned for its inventiveness and vitality, intellectual property rights (IPR) are essential for safeguarding and promoting innovation. This article explores the functions of different forms of intellectual property rights (IPRs) in the entertainment sector, such as patents, trade secrets, copyrights, and trademarks. It examines the state of law, charts the development of IPR throughout cinema history, and evaluates how intellectual property protection affects distributors, customers, and filmmakers. It also talks on the benefits and problems brought

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Kurbaniyazov, Rufat. "THE HISTORY OF SOUND RECORDING." MODERN SCIENCE АND RESEARCH 3, no. 2 (2024): 512–15. https://doi.org/10.5281/zenodo.10711317.

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Ward, Brian. "Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919. ByTim Brooks. Champaign: University of Illinois Press, 2004. x + 634 pp. Index, notes, bibliography, appendix, illustrations, photographs, tables. Cloth, $65.00. ISBN: 0-252-02850-3." Business History Review 78, no. 4 (2004): 741–44. http://dx.doi.org/10.2307/25096960.

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15

Whitford, Steve. "The ‘Truth of Sound’: Exploring the effects of an immersive location sound recording methodology within realist filmmaking." Soundtrack 13, no. 1 (2022): 61–71. http://dx.doi.org/10.1386/ts_00016_1.

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The art of location-based sound recording specifically has been a neglected area of academic research. I seek to address this by drawing critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. I show how this art continues to be central to the creative process of production, in driving the narrative and shaping the text’s influence, within the pro-filmic space. I hypothesize that the realist sound recordist’s role has an authorial voice and a creative agency. I seek to reimagine and develop an ontological r

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Ovsiannikov, Viacheslav. "Principles of microphone sound recording in the context of the creative direction of sound recording." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 124–29. http://dx.doi.org/10.32461/2226-2180.39.2021.238705.

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The purpose of the article is to characterize the principles of sound recording with microphones in the context of the acoustic spatial features of concert halls, which are an important component in positioning the activities and creative directions of "purism", "individualism" and "realism" in sound engineering. The methodology consists of the use of analytical, historical, and cultural methods, which made it possible to identify and characterize the technological foundations of sound recording using the example of sound engineers. The scientific novelty of the work lies in the fact that for

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Sitepu, Solideo Tanmamana, Ni Wayan Ardini, and Ricky Irawan. "ANALISIS PERFORMA MIXER MIDAS M32 UNTUK STUDIO RECORDING." MELODIOUS : JOURNAL OF MUSIC 3, no. 2 (2024): 139–47. http://dx.doi.org/10.59997/melodious.v3i2.3167.

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Audio mixer have an important role in the operation of an audio sound system to process it in such a way and obtain the desired results. One type of audio mixer that is often used in the modern music industry is a digital mixer, namely the MIDAS type M32 mixer. This research aims to analyze the performance of the MIDAS mixer in the recording studio at Pregina Art Showbiz. The type of research data is qualitative data used to determine the performance of the MIDAS M32 mixer at Pregina Art & Showbiz Bali regarding the channels used in the MIDAS M32 mixer, types of input and output, sound qua

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18

Hoover, K. Anthony. "Sound isolation of recording studios." Journal of the Acoustical Society of America 152, no. 4 (2022): A104. http://dx.doi.org/10.1121/10.0015693.

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Sound isolation to and from quality recording studios is critical to their success. Proper design based on informed understanding of both airborne and structureborne transmission is essential, because retrofitting isolation can be challenging or even prohibitive, and because one-size-fits-all recommendations may be unsatisfactory. This presentation will review some issues and evaluation methods that help to guide successful, cost-effective designs. Also discussed will be examples including a world-class studio with remarkable history that was encroached by an expanded loud facility, floated co

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Chavez, Maria, and Kristina Warren. "A Sound Artist’s Breakdown of Field Recording over History." Organised Sound 27, no. 1 (2022): 41–43. http://dx.doi.org/10.1017/s1355771822000218.

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The conceptual sound artist, turntablist, and curator Maria Chavez muses about storing and accessing sounds. Building on Ursula Le Guin’s concept of the carrier bag, she describes four eras of sound recording and containment.

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20

Davies, Anthony C. "Stereo Sound Recording and Reproduction ? Remembering the History [sp History]." IEEE Signal Processing Magazine 32, no. 5 (2015): 14–16. http://dx.doi.org/10.1109/msp.2015.2440191.

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Van Nort, Doug. "Multidimensional Scratching, Sound Shaping and Triple Point." Leonardo Music Journal 20 (December 2010): 17–18. http://dx.doi.org/10.1162/lmj_a_00005.

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The author discusses performance utilizing his greis software system, which is built around the principle of a “scrubbing” interaction with roots in the recording industry and the paradigm of scrubbing tape across a magnetic head.

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22

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 s

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23

Poletti, Mark. "Three-dimensional sound recording using directional beams." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A255. http://dx.doi.org/10.1121/10.0023453.

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The recording of three-dimensional spatial audio is typically carried out using microphone arrays that produce higher-order B-format responses, which are defined by spherical harmonics. Spherical harmonics provide a compact, orthonormal representation of the sound field, but can be intuitively challenging for general users because they do not have a direction, as opposed to typical microphones used in the audio industry. Furthermore, spherical microphone arrays typically use microphone angles based on Platonic solids which do not have intuitive directions such as front, rear, left, right, up,

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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 t

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Pope, Norris. "Film History as Film Stock History: American Production Choices, 1937–1940." Film History: An International Journal 35, no. 2 (2023): 72–94. http://dx.doi.org/10.2979/fih.00004.

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ABSTRACT: This essay examines the cinematic possibilities and reception of an important group of 35mm fine-grain, black-and-white, negative film stocks introduced in America in the period from 1937 to 1940. These new stocks included camera stocks, sound-recording stocks, duplicating stocks, and release-print stocks. All these new stocks were unprecedented in their ability to combine faster emulsion speeds with impressively fine grain—innovations in film manufacture that contributed significantly to improved images and sound quality in black-and-white theatrical films.

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VALYULINA, E. V. "EFFECTIVE METHODS OF MEDIA EDUCATION:THE EXPERIENCE OF MEDIA CENTERS IN DIFFERENT COUNTRIES." Sign problematic field in mediaeducation 53, no. 3 (2024): 15–22. https://doi.org/10.47475/2070-0695-2024-53-3-15-22.

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The article examines the experience of media centers in different countries. Relevance. In modern society, it is impossible to imagine everyday life without the use of mass media, including such forms as the Internet, television, radio, press, cinema, and sound recordings. These media platforms have become extremely important to humanity over the past few decades, occupying a key place in culture and communications at the global level. The media space goes beyond a simple tool of information exchange, transforming into a vast arena where cultural norms are not only created and become attractiv

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27

Casadei, Delia. "Sound Evidence, 1969: Recording a Milanese Riot." Representations 147, no. 1 (2019): 26–58. http://dx.doi.org/10.1525/rep.2019.147.1.26.

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On 19 November 1969, two members of Milan’s neofolk music collective the Nuovo Canzoniere Italiano (NCI) armed themselves with portable sound recorders and wandered amongst a crowd of demonstrators near Milan’s Duomo. The resulting LP, I fatti di Milano (The events of Milan), is a puzzling hybrid of artistic and political intent. As the sleeve note explains, the demonstration degenerated into a riot and resulted in the violent—and to this day legally unresolved—death of a police officer. The NCI members presented the recording as sonic evidence of the day’s events, hoping to help the case of t

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DeVincentis, Patrice. "The rise of sound girls: Expect, empower, energize, educate." Journal of Popular Music Education 6, no. 2 (2022): 267–74. http://dx.doi.org/10.1386/jpme_00089_1.

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The fact that fields of music production and recording arts have been noticeably male-dominated has not gone unnoticed. Progress for women in these fields has been slow and difficult at best. Current statistics demonstrate that the change in gender percentages over the past decade has been insignificant. The lack of female professionals in the music and audio fields has been the subject of studies for over 40 years. Females interested in the audio industry have often faced with adversity and challenges. This article examines real-world experiences of females in the audio industry and considers

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29

LATHAM, CLARA HUNTER. "Listening to Modernism: New Books in the History of Sound." Contemporary European History 26, no. 2 (2017): 385–95. http://dx.doi.org/10.1017/s0960777317000042.

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The rapid industrialisation and electrification that characterises the late nineteenth and early twentieth centuries involved the revolutionary and irreversible technologisation of sound. The ability to send sound great distances, through time and space, amplified the instability of sonic presence both inside and outside the body. Sound reproduction technologies such as gramophone and radio emphasise the questionable materiality of sound. Scholarship in the emerging field of sound studies has tended to focus on sound technologies that emerge in this period, promoting the axiom that the ear epi

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30

Timmermans, Matthew. "Opera, Sound Recording, and Critical Race Theory." Current Musicology 108 (November 1, 2021): 1–25. http://dx.doi.org/10.52214/cm.v108i.8811.

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This review essay considers the relationships among opera, sound recording, and critical race theory, and explores them at a moment when these fields are beginning to converge. One of my concerns will be the recent and ground-breaking studies and collections on opera and race by Naomi Adele André (2017, 2019), Kira Thurman (2012, 2019), Pamela Karantonis and Dylan Robinson (2011), and Mary I. Ingraham, Joseph K. So and Roy Moodley (2016). Another will be the neglected history of opera and sound recording; notable scholars here include Karen Henson (2020), Robert Cannon (2014), and Richard Lepp

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Birdsall, Carolyn, Manon Parry, and Viktoria Tkaczyk. "Listening to the Mind." Public Historian 37, no. 4 (2015): 47–72. http://dx.doi.org/10.1525/tph.2015.37.4.47.

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With increasing interest in the representation of histories of mental health in museums, sound has played a key role as a tool to access a range of voices. This essay discusses how sound can be used to give voice to those previously silenced. The focus is on the use of sound recording in the history of mental health care, and the archival sources left behind for potential reuse. Exhibition strategies explored include the use of sound to interrogate established narratives, to interrupt associations visitors make when viewing the material culture of mental health, and to foster empathic listenin

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32

Yakoupov, A. N. "MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)." Arts education and science 1, no. 2 (2020): 53–61. http://dx.doi.org/10.36871/hon.202002006.

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In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generatio

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Xu, Chuan. "From Sonic Models to Sonic Hooligans: Magnetic Tape and the Unraveling of the Mao-Era Sound Regime, 1958–1983." East Asian Science, Technology and Society 13, no. 3 (2019): 391–412. http://dx.doi.org/10.1215/18752160-7755487.

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Abstract This article examines the roles of magnetic recording in China’s sound governance. Through analyses of archival documents and personal accounts, this article argues that in the early 1980s, the magnetic recording infrastructure and its common usage underwent dramatic transformations. In the 1960s and 1970s, state officials and language educators configured the magnetic recording infrastructure to propagandize authoritative and normative sounds while maintaining strict hierarchical distinctions between those who recorded and those who listened. In the early 1980s, with the rapid popula

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Meyer, Stephen C. "Parsifal's Aura." 19th-Century Music 33, no. 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.

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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy w

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Williams, Christopher. "The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde." Transcultural Studies 13, no. 2 (2017): 239–63. http://dx.doi.org/10.1163/23751606-01302008.

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Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave

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Devine, Kyle. "Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction." Popular Music 32, no. 2 (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

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Jäggi, Patricia. "(Re)Creating Avian Worlds: Experiences of and Reflections on Making, Listening to and Composing with Field Recordings of Birds." Filigrane. Musique, esthétique, sciences, société, no. 26 (January 1, 2021): online. https://doi.org/10.5281/zenodo.14923457.

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The article provides a transdisciplinary insight into the world of field recording of birds. It embraces examples of making, listening to as well as the analysis, editing and creative transformation of field recordings in bioacoustics, popular culture and music/sound art. It starts off with comparing autoethnographically recording experiences of directional recording technologies such as parabola and shotgun with MS' and ambisonic's surround sound. Then a wider discussion of the history of avian field recordings, including their impact on the science of avian bioacoustics and on the perception

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Dobrianska, Lina. "Sound Recording of Lesya Ukrainka’s Voice: History of Research and Re- construction." Ethnomusic 17, no. 1 (2021): 9–41. http://dx.doi.org/10.33398/2523-4846-2021-17-1-9-41.

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Vorontsov, Serhii. "Modern information technologies in the music industry." Aspects of Historical Musicology 36, no. 36 (2024): 173–89. https://doi.org/10.34064/khnum2-36.10.

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Statement of the problem. The article studies the range of issues related to the activities of music creators in today’s conditions and the effects of objective and subjective factors caused by radical changes in sound recording technology on the one hand, and the demands the consumer market on the other. Today, the vast majority of music distributed in the world is digital. The Internet has changed not only the ways in which music is consumed, but also the volume of that consumption (Cakebread, 2017) and even the music itself (Dredge, 2013). The situation is impressive: according to statistic

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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.

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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in or

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Jhingan, Shikha. "Backpacking Sounds." Feminist Media Histories 1, no. 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.

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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with

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Kenney, William, and David Morton. "Off the Record: The Technology and Culture of Sound Recording in America." Journal of American History 88, no. 1 (2001): 271. http://dx.doi.org/10.2307/2675037.

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Jackson, Christophe E., John T. Tarvin, Paul A. Richardson, Stephen A. Watts, and Paul F. Castellanos. "Construction and Characterization of a Portable Sound Booth for Onsite Voice Recording." Medical Problems of Performing Artists 26, no. 3 (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 desi

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Alexander, Peter J. "Market Structure of the Domestic Music Recording Industry, 1890–1988." Historical Methods: A Journal of Quantitative and Interdisciplinary History 35, no. 3 (2002): 129–32. http://dx.doi.org/10.1080/01615440209601203.

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Runnel, Veljo, Marko Peterson, and Allan Zirk. ""My naturesound" - nature observations with sound recordings." Biodiversity Data Journal 5 (October 20, 2017): e20200. https://doi.org/10.3897/BDJ.5.e20200.

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Online systems for observation reporting by citizen scientists have been operating for many years. iNaturalist (California Academy of Sciences 2016), eBird (Cornell Lab of Ornithology 2016) and Observado (Observation International 2016) are well-known international systems, Artportalen (Swedish Species Information Centre 2016) and Artsobservasjoner (Norwegian Biodiversity Information Centre 2016) are Scandinavian. In addition, databases and online solutions exist that are more directly research-oriented but still offer participation by citizen scientists, such as the PlutoF (University of Tart

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Szabó, Ferenc János. "Ernő Dohnányi: A Discography of the Performer." Studia Musicologica 63, no. 1-2 (2022): 17–85. http://dx.doi.org/10.1556/6.2022.00003.

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AbstractThe performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in t

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VanCour, Shawn, and Kyle Barnett. "Eat what you hear: Gustasonic discourses and the material culture of commercial sound recording." Journal of Material Culture 22, no. 1 (2017): 93–109. http://dx.doi.org/10.1177/1359183516679186.

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This article analyzes discursive linkages between acts of listening and eating within a combined multisensory regime that the authors label the gustasonic. Including both marketing discourses mobilized by the commercial music industry and representations of record consumption in popular media texts, gustasonic discourses have shaped forms and experiences of recorded sound culture from the gramophone era to the present. The authors examine three prominent modalities of gustasonic discourse: (1) discourses that position records as edible objects for physical ingestion; (2) discourses that preser

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Vukmanović, Marinko. "DELICATE SOUND OF AI RESTORATION - ”THE LORD OF THE THINGS”." Social informatics journal 3, no. 1 (2024): 51–54. http://dx.doi.org/10.58898/sij.v3i1.51-54.

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Re-defining important changes in the music and film restoration industry, exploring the possibility to: 1. Extract individually chosen sounds from the final movie track in order to re-balance (re-mix) its audio content. 2. Extract chosen sounds from the original audio recording and re-mix, with separated audio stems. The Results section starts by describing the process of creating a completely new mixdown made from AI-generated audio stems (previously extracted from the original mono recordings) joining it with restored original 16 mm video footage, resulting in a full eight-hour movie, separa

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VanderMeulen, Ian. "Vocal Arrangements: Technology, Aurality, and Authority in Qur'anic Recording." International Journal of Middle East Studies 53, no. 3 (2021): 371–86. http://dx.doi.org/10.1017/s0020743821000428.

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AbstractThis article uses ethnography of a studio recording project underway at a Qur'anic school in Salé, Morocco, to offer new insight on sound, media, and religious authority in Islamic contexts. The aim of the project is to record the entire Qur'an incorporating all of its seven canonical, variant readings (qirā’āt), which are enjoying a small renaissance in Morocco. Several of the school's faculty, known as shaykhs, engaged as expert listeners and overseers of the process. I show how a historical model of such expert listenership, which I call “aural authority,” is transformed by the tech

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Wood, Nicholas Stuart. "Protecting Creativity: Why Moral Rights Should be Extended to Sound Recordings under New Zealand Copyright Law." Victoria University of Wellington Law Review 32, no. 1 (2001): 163. http://dx.doi.org/10.26686/vuwlr.v32i1.5899.

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Traditionally, moral rights have not extended to the creators of sound recordings under either common law or civil law systems. The somewhat outdated rationale of this exclusion of sound recordings from the ambit of moral rights protection was generally that sound recordings were merely mechanical reproductions of already existing musical works, and hence the recordings lacked sufficient creativity to make them worthy of moral rights protection. In 1996, the WIPO Performances and Phonograms Treaty sought to remedy this anomaly in copyright law by extending the moral rights of paternity and of

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