Relevant bibliographies by topics / Sound recordings – History

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Sound recordings – History'

Author: Grafiati
Published: 10 March 2023
Last updated: 19 July 2025

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Journal articles on the topic "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 (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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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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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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Thibeault, Matthew D. "Learning With Sound Recordings: A History of Suzuki’s Mediated Pedagogy." Journal of Research in Music Education 66, no. 1 (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 approache
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LANG, PATRICK. "TO LOSE THE MEANING OF MUSICALITY. WHAT IS THE PLACE OF MUSIC IN A WORLD SATURATED WITH AUDIO RECORDINGS?" HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 13, no. 2 (2024): 556–70. https://doi.org/10.21638/2226-5260-2024-13-2-556-570.

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“Listening to music” and “listening to sound recordings” have become perfectly synonymous in our society. The aim of this paper is to question the legitimacy of this supposed equivalence, which almost all listeners have taken for granted. Our sonic universe is saturated with recorded sounds: what space does it leave to music? What reasons could justify a radical distinction, or even opposition, between the exposure to recorded sounds and musical activity in the strict sense of the word? According to tried and tested phenomenological method, through conscious attention to what appears, we retur
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Deggeller, Kurt. "From “Sound” to “Sound and Audiovisual”: History and Future of IASA." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 7–13. http://dx.doi.org/10.35320/ij.v0i52.146.

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IASA emerged in 1969 from IAML, the International Association of Music Libraries, Archives and Documentation Centres. The interests of IAML’s members largely focused on music as manuscript or score, and musical sound recordings were dealt with in the Record Library Committee. IASA was founded to consider additional types of sound recordings, including research and oral history. From the frst years of IASA’s existence, the question of the organisation’s relationship to the moving image arose, represented by the International Federation of Film Archives (FIAF). But as early as 1979, a delegate f
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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 s
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Pombier, Nicki. "Gail Mary Killian Sound Recordings, 1971–1985." Oral History Review 48, no. 1 (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 t
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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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Dissertations / Theses on the topic "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
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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 rec
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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 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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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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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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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 sa
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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
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Books on the topic "Sound recordings – History"

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Mori, Yoshihisa. Onkyō gijutsushi: Oto no kiroku no rekishi. Tōkyō Geijutsu Daigaku Shuppankai, 2011.

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Simon, Géza Gábor. Magyar hanglemeztörténet: (100 éves a magyar hanglemez, 1908-2008). Jazz Oktatási és Kutatási Alapítvány, 2008.

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Rhein, Eduard. 100 Jahre Schallplatte. Presse- und Informationsamt des Landes Berlin, 1987.

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Thérien, Robert. L' histoire de l'enregistrement sonore au Québec et dans le monde, 1878-1950. Presses du l'Université Laval, 2003.

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Smith, Jacob. Spoken word: Postwar American phonograph cultures. University of California Press, 2011.

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Lippus, Urve, and Kadri Steinbach. Eesti helisalvestised 1939: Estonian sound recordings 1939. Eesti Muusika- ja Teatriakadeemia, 2009.

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Imperial War Museum. Sound Archive. The Special Operations Executive: Sound archive, oral history recordings. Trustees of the Imperial War Museum, 1998.

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Cunningham, Mark. Good vibrations: A history of record production. Castle Communications, 1996.

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Sharma, A. N. The wonder that was the cylinder: Early and rare Indian cylindrical records. Spenta Multimedia, 2014.

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Gunnar, Sundberg, and Thelander Lars, eds. Den talande maskinen de första inspelade ljuden i Sverige och Norden. Suomen Äänitearkisto/Finlands Ljudarkiv, 2008.

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Book chapters on the topic "Sound recordings – History"

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Siefert, Marsha. "Entrepreneurial Tapists." In Music and Democracy. 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." In Palgrave Studies in the History of Subcultures and Popular Music. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55161-2_8.

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Verhulst, Pim. "2.3.5. Radio." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxv.36ver.

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After contextualising the radio medium in relation to theatre, television and film, and then distinguishing between different types of radio drama, this chapter argues that radio plays are a hybrid (text/sound) art form, as opposed to a “purely acoustic” one, that needs to be researched from an archival perspective, which includes not only drafts, production scripts and recordings, but also ancillary materials such as letters and documents preserved at broadcasting services. In order to illustrate this point, it uses genetic criticism as a methodological framework and four case studies broadcast on the various networks of the BBC: Dylan Thomas’s Under Milk Wood (1954), Harold Pinter’s A Slight Ache (1959), Caryl Churchill’s Identical Twins (1968) and Andrew Sachs’s The Revenge (1978).
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Verhulst, Pim. "2.3.5. Radio." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.35.36ver.

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After contextualising the radio medium in relation to theatre, television and film, and then distinguishing between different types of radio drama, this chapter argues that radio plays are a hybrid (text/sound) art form, as opposed to a “purely acoustic” one, that needs to be researched from an archival perspective, which includes not only drafts, production scripts and recordings, but also ancillary materials such as letters and documents preserved at broadcasting services. In order to illustrate this point, it uses genetic criticism as a methodological framework and four case studies broadcast on the various networks of the BBC: Dylan Thomas’s Under Milk Wood (1954), Harold Pinter’s A Slight Ache (1959), Caryl Churchill’s Identical Twins (1968) and Andrew Sachs’s The Revenge (1978).
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Pavan, Gianni, Gregory Budney, Holger Klinck, Hervé Glotin, Dena J. Clink, and Jeanette A. Thomas. "History of Sound Recording and Analysis Equipment." In Exploring Animal Behavior Through Sound: Volume 1. 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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Mizuno, Mikako. "5. Iannis Xenakis in Japan: Productive Performances and Reception of Texts." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.07.

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The last two decades produced remarkably excellent Xenakis performers who were born in Japan and who have generated a new phase of Xenakis performances in Japan. They succeeded the first generation which had shared the same years of the avant-garde after WWII with the composer. This chapter examines Xenakis’s interactions with Japanese musicians for the Osaka World Fair (1970) and the preparatory process of Hibiki-Hana-Ma in the NHK electronic music studio and that had made important footprints on musical concepts for then- contemporary Japanese composers. The Steel and Iron Pavilion in the Osaka World Fair, designed by Kunio Maekawa, was equipped with an original sound system comprising 1008 speakers. Yuji Takahashi, Minao Shibata, and Toru Takemitsu (as well as Seiji Ozawa) were strongly impressed by Xenakis’s rather unique procedure of creating music. The millennium successors experienced several important Xenakis events in Japan during their younger days: the world premiere in Tokyo of Horos, Xenakis being awarded the prestigious Kyoto Prize, Suntory Hall’s original production of Oresteia, the recording of Synaphai with Horoaki Ooi, and so on. This chapter thereby introduces the performance history of Xenakis’s work in Japan.
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Trower, Shelley. "From Mayhew’s Street Voices to Oral History." In Sound Writing. 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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Keating, Patrick. "The Sound of Movement." In The Oxford Handbook of American Film History. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197556153.003.0009.

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Abstract Movies after 1928 became fully Audio-visual. But aside from debates about technological determinism, film historians generally privilege image over sound, and seldom link the two together. Focusing on two technical developments in the 1930s—in the field of cinematography, the moving camera; and in the field of sound, innovations in noiseless recording (that allowed sound engineers to re-record or dub their tracks and mix original dialogue recordings with music and effects)—this chapter examines how classical era filmmakers introduced a new, more modern film language. These “old movies” are artifacts of not only a broader American cultural history, but of a mode of production as well, a style and form, a set of methods and materials and a way of doing things.
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"LIST OF THE SOUND RECORDINGS DISCUSSED." In Listening to Colonial History. Echoes of Coercive Knowledge Production in Historical Sound Recordings from Southern Africa. 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." In Music Technology in Education. 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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Conference papers on the topic "Sound recordings – History"

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Murphy, Jim, Dugal McKinnon, and Mo H. Zareei. "Lost Oscillations: Exploring a City’s Space and Time With an Interactive Auditory Art Installation." In The 22nd International Conference on Auditory Display. 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 s
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Bressan, Federica. "Philology in the preservation of audio documents." In 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 preserva
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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." In 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 wide
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Neyrinck, Jorijn, and Ellen Janssens. "Documenting ICH in sound and image." In 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 ap
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Besem-Cordova, Fanny M., Donavan Dieu, Kan Wang, Guillaume A. Brès, and Antoine Delacroix. "GPU-Accelerated Aeroacoustic Simulations of HVAC Duct Configurations." In Noise & Vibration Conference & Exhibition. SAE International, 2025. https://doi.org/10.4271/2025-01-0133.

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&lt;div class="section abstract"&gt;&lt;div class="htmlview paragraph"&gt;Large eddy simulations (LES) of two HVAC duct configurations at different vent blade angles are performed with the GPU-accelerated low-Mach (Helmholtz) solver for comparison with aeroacoustics measurements conducted at Toyota Motor Europe facilities. The sound pressure level (SPL) at four near-field experimental microphones are predicted both directly in the simulation by recording the LES pressure time history at the microphone locations, and through the use of a frequency-domain Ffowcs Williams-Hawking (FW-H) formulati
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Smirnova Henriques, Anna, Pavel A. Skrelin, Vera V. Evdokimova, Maria Cristina Borrego, and Sandra Madureira. "THE PRODUCTION OF BRAZILIAN PORTUGUESE MID VOWELS BY RUSSOPHONE MIGRANTS IN BRAZIL." In 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
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Abdelaal, Khaled, Ken Atere, Keith LeRoy, Aaron Eddy, and 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." In 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 (su
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Ra, Sarah A., and Seung K. Ra. "Cultural Influence in the Digital Age." In 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 juxtaposit
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Reports on the topic "Sound recordings – History"

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Meyer, Erik, and 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
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Paxton, Barton, and 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
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