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Journal articles on the topic 'Sound recordings – 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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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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Thompson, Emily. "Making Noise in The Roaring ’Twenties." Public Historian 37, no. 4 (2015): 91–110. http://dx.doi.org/10.1525/tph.2015.37.4.91.

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The Internet offers an unprecedented bounty of historic sound recordings, and the opportunity to listen in on the past has never been greater. But online sound archives also present new challenges. Public history websites must recover the meaning of sound as well as sound itself, and thereby engender a historicized mode of listening that tunes modern ears to the pitch of the past. The Roaring ’Twenties website attempts this via an interactive multimedia environment of sounds, images, and texts, recreating for its listeners the sonic culture of New York City circa 1929, a place and time defined

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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.

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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was

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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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Shepperd, Josh, and Amanda Keeler. "Introducing the Special Series “Sound History Is Cultural History”." Resonance: The Journal of Sound and Culture 6, no. 1 (2025): 27–29. https://doi.org/10.1525/res.2025.6.1.27.

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This special series features the collaborative work of the Library of Congress Radio Preservation Task Force. The task force is a national clearinghouse project that brings together researchers from academic, archival, federal, and commercial sectors. Pieces in the series discuss RPTF participant commitments and strategies regarding the preservation and curation of the cultural history of sound. The first pieces in the series feature the research of three media historians, who discuss new directions for assessing radio as a cultural and political medium, in reference to the materiality of radi

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Blocker, Jane. "History in the Present Progressive: Sonic Imposture at The Pedicord Apts." TDR/The Drama Review 59, no. 4 (2015): 36–50. http://dx.doi.org/10.1162/dram_a_00495.

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Scholars often think of sound, even recorded sound, as having a special relationship to the real that other historical artifacts do not. But if sound is a material thing, and things can be, from a new materialist perspective, “quasi-agents,” is it possible that sound is an agent that poses or acts? Three “scenes of history” utilizing recorded sound—Beckett’s Krapp’s Last Tape, archival recordings of FDR, and a sound installation by Edward and Nancy Kienholz—provide diverse contexts through which to investigate the nature of sound’ s material agency.

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Lavrentev, Mikhail Y. "WORLD WAR II IN THE RSASR PHONO DOCUMENTS." History and Archives, no. 4 (2020): 149–56. http://dx.doi.org/10.28995/2658-6541-2020-4-149-156.

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The present article describes the phono documents of the Russian State Archives of Sound Recordings related to World War II. The work covers the specifics of these documents and their value for the war history research as well as for understanding of the war-time atmosphere and its reflection in people’s minds during and after the war. The paper analyses the audio recordings made both during World War II and the following years. The examples of most important documents are presented. The existence of phono documents created before the start of World War II and after its end is indicated. The a

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Pigott, Michael. "Sounds of the Projection Box: Liner Notes for a Phonographic Method." Journal of British Cinema and Television 15, no. 1 (2018): 27–45. http://dx.doi.org/10.3366/jbctv.2018.0400.

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In order to document, investigate and analyse the soundscape of the analogue projection box before it passes into history, a series of audio recordings was made within functioning boxes, a selection of which have been released as an ‘album’. The recordings, made in UK boxes that maintain both 35mm film projection and digital projection, also capture the shifting sonic texture of this environment as it changes from primarily analogue to primarily digital operation. This article explores the role of phonographic field recording as a practical methodology within a film historical research project

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Ord, Matthew. "From here." Politics of Sound 18, no. 4 (2019): 598–616. http://dx.doi.org/10.1075/jlp.18062.ord.

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Abstract This article considers the sonic construction of place in English folk music recordings. Recent shifts in the political context have stimulated renewed interest in English identity within folk music culture. Symbolic struggles over folk’s political significance highlight both the contested nature of English identity and music’s semantic ambiguity, with texts being interpolated into discourses of both ethnic purity and multiculturalism. Following research in popular music, sound studies and multimodal communication this article explores the use of field recording to explore questions o

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Cocciolo, Anthony. "Digitizing oral history: can you hear the difference?" OCLC Systems & Services: International digital library perspectives 31, no. 3 (2015): 125–33. http://dx.doi.org/10.1108/oclc-03-2014-0019.

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Purpose – The purpose of this study is to answer the questions: Can students discern the difference between oral histories digitized at archival quality (96 kHz/24-bit) versus CD-quality (44.1 kHz/16-bit)? and How important do they believe this difference is? Digitization of analog audio recordings has become the recommended best practice in preserving and making available oral histories. Additionally, well-accepted standards in performing this work are available. However, there is relatively little research that addresses if individuals can hear a qualitative difference in recordings made wit

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Staaterman, Erica, Claire B. Paris, and Andrew S. Kough. "First evidence of fish larvae producing sounds." Biology Letters 10, no. 10 (2014): 20140643. http://dx.doi.org/10.1098/rsbl.2014.0643.

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The acoustic ecology of marine fishes has traditionally focused on adults, while overlooking the early life-history stages. Here, we document the first acoustic recordings of pre-settlement stage grey snapper larvae ( Lutjanus griseus ). Through a combination of in situ and unprovoked laboratory recordings, we found that L. griseus larvae are acoustically active during the night, producing ‘knock’ and ‘growl’ sounds that are spectrally and temporally similar to those of adults. While the exact function and physiological mechanisms of sound production in fish larvae are unknown, we suggest that

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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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Stephens, Carlene E. "“Speculative Imaginations”: Listening to 1889, Then and Now." Journal of the Gilded Age and Progressive Era 22, no. 4 (2023): 452–74. http://dx.doi.org/10.1017/s1537781423000245.

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AbstractIn an examination of three cylinder recordings from 1889, this essay compares the context for their original production with the experience of hearing them again in 2019, thanks to IRENE, a twenty-first century suite of state-of-the-art techniques and equipment designed to recover sound from old recordings otherwise considered unplayable. This pairing offers an opportunity to examine how each period envisioned the technical opportunities and social purpose of these new sound technologies in their respective times. Inspired by the work of Sheila Jasanoff and others who have developed th

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Marjanovic, Natasa. "Archival sound recordings of the Serbian church chant in the Institute of Musicology SASA: Sounds of live tradition as sources for research." Muzikologija, no. 36 (2024): 193–221. http://dx.doi.org/10.2298/muz2436193m.

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This paper presents the rich archival collection of sound recordings of the Serbian church music, kept at the Phonoarchive of the Institute of Musicology SASA. The study focuses on the sound recordings of the traditional Serbian church chant, from the end of the 1960s to the mid-1980s, made in churches and monasteries in Serbia, Croatia, Bosnia and Herzegovina and Hungary, during musicological field research by dr Dimitrije Stefanovic and dr Danica Petrovic. These unique sources, which have been previously unknown to the wider public, are the authentic testimony of the heritage of the liturgic

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Jaff, Asmaa Ahmed Mustafa, Çilen Erçin, and Zeynep Onur. "Assessing the Soundscape Characteristics of Historical Urban Environments: An Analysis of the Historical Erbil Citadel and Its Environments." Buildings 13, no. 12 (2023): 3091. http://dx.doi.org/10.3390/buildings13123091.

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This research addresses the neglect of sensory features, specifically the soundscape, in studies focused on preserving historic areas. The aim was to contribute to soundscape research by examining the effect of sound on the perception of urban historical places and the impact of the “renewal and transformation” process on audio-visual experiences. This study focused on the historical Erbil Citadel as a case study area, known for its extensive cultural history. Sound sources in the region were identified, recorded, and analyzed using software to calculate the Sound Pressure Level (SPL). The sou

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Baker, Ed, Benjamin Price, Simon Rycroft, and Martin Villet. "Global Cicada Sound Collection I: Recordings from South Africa and Malawi by B. W. Price & M. H. Villet and harvesting of BioAcoustica data by GBIF." Biodiversity Data Journal 3 (September 2, 2015): e5792. https://doi.org/10.3897/BDJ.3.e5792.

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Sound collections for singing insects provide important repositories that underpin existing research (e.g. Price et al. 2007 at http://bio.acousti.ca/node/11801; Price et al. 2010) and make bioacoustic collections available for future work, including insect communication (Ordish 1992), systematics (e.g. David et al. 2003), and automated identification (Bennett et al. 2015). The BioAcoustica platform (Baker et al. 2015) is both a repository and analysis platform for bioacoustic collections: allowing collections to be available in perpetuity, and also facilitating complex analyses using the BioV

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Raditya, I. Gusti Putu Agung Raditya Utara. "Gamelan Recordings As an Archive of the Gamelan Music Movement in Bali | Rekaman Gamelan sebagai Arsip Pergerakan Musik Gamelan di Bali." GHURNITA: Jurnal Seni Karawitan 4, no. 3 (2024): 374–81. http://dx.doi.org/10.59997/jurnalsenikarawitan.v4i3.3893.

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This article reviews the role of Gamelan recordings as archives in documenting the movement of Gamelan music in Bali. The research was conducted through observation and interviews to understand the practices and outcomes of using recordings in the Balinese cultural context. Through direct observation and interviews, this study explored various developments in playing techniques, styles, and composition forms. Recording is a process of capturing sound or images stored in digital or analogue format, serving as archives for work documentation, reproduction, and distribution. An archive consists o

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WESTERN, TOM. "‘The Age of the Golden Ear’:The Columbia World Libraryand Sounding out Post-war Field Recording." Twentieth-Century Music 11, no. 2 (2014): 275–300. http://dx.doi.org/10.1017/s1478572214000103.

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AbstractThis article responds to Alan Lomax's pronouncement that the mid-twentieth century constituted ‘the age of the golden ear’, when ‘a passionate aural curiosity overshadowed the ability to create music’. It examines a project born out of Lomax's own aural curiosity and his foregrounding of recording technology – theColumbia World Library of Folk and Primitive Music(1955) – using it to sound out the history of mid-century ethnographic field recording. By retracing the production of theWorld Library, this article explores the various agencies compressed into the audible exteriors of field

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Johnston, Sarah. "Voices from the War: Improving Access to the Recordings of New Zealand’s World War II Mobile Broadcasting Units." International Association of Sound and Audiovisual Archives (IASA) Journal, no. 52 (August 19, 2022): 22–32. http://dx.doi.org/10.35320/ij.v0i52.125.

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In August 1940, three New Zealand radio broadcasters set sail on an army troop ship from Wellington. They were bound for Egypt, where the New Zealand armed forces were part of the British Empire’s push to drive the German and Italian armies out of North Africa and the Middle East. With them was a mobile recording van, equipped to capture on lacquer discs the voices and sounds of New Zealanders at war, and send those re- cordings back home for radio broadcasts on the other side of the world. For the next five years, the Mobile Broadcasting Unit recorded interviews and reports about the fighting

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Soria-Martínez, Verónica. "Resounding Memory: Aural Augmented Reality and the Retelling of History." Leonardo Music Journal 27 (December 2017): 12–16. http://dx.doi.org/10.1162/lmj_a_01001.

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This text discusses sound art projects in which artists have used augmented reality along with recordings or data of public spaces. All the works mentioned here were carried out in Spain from 2010 to 2016. In them, memories become tied to the physical space through social interactions facilitated by communication technologies; listeners get involved through the use of mobile devices. These practices consider the role of sound in the display of memories in the public space, thus configuring a subjective memory that contrasts with the institutional narrations of the history of a place.

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Schmidt, Uta C. "Soundscape of the Ruhr: Sensitive Sounds. Between Documentation, Composition and Historical Research." Prace Kulturoznawcze 26, no. 1 (2022): 99–118. http://dx.doi.org/10.19195/0860-6668.26.1.6.

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The following article discusses the Sound Archive of the Ruhr. Our project touches upon a set of questions that are of interest to sound studies. They concern intention and modes of archiving sound, working for museums, exhibitions, film, theatre productions, education and science, recordings as testimony as well as cultural heritage. Working on and with the archive made us sensitive to the aurality of the confined space and to the horizons of meaning that people attributed (and still attribute) to the acoustic dimensions of their everyday life. As a result, we began to conceptualize history b

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Bijsterveld, Karin. "Ears-on Exhibitions." Public Historian 37, no. 4 (2015): 73–90. http://dx.doi.org/10.1525/tph.2015.37.4.73.

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Between March 2013 and November 2014, the Amsterdam Museum had an installation that enabled visitors to compare a recent soundscape recording of the Dam Square with simulations of how the Dam sounded in 1895 and 1935. Constructing these simulations involved virtual acoustics software, recordings of historical artifacts, and research into the urban past. This paper critically discusses how the installation was made and received by comparing the acoustic authenticity ideal behind it with the aims of the early music movement. It concludes by reviewing alternative ways of using sound in history mu

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Dimov, Ventsislav. "Following the black spiral: Old voices, new life (Towards the history of the early commercial gramophone records in Bulgaria)." Muzikologija, no. 32 (2022): 19–40. http://dx.doi.org/10.2298/muz2232019d.

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The earliest surviving sound evidence of music and musicians from Bulgaria is on commercial gramophone records from the early XX century. Although unique sources for ethnomusicological and historical research, these commercial recordings are little known and almost unexplored. The proposed text sets out to collect and describe information on the first decade of commercial gramophone recordings in Bulgaria. The basis for the research is sound evidence from scholarly and museum archives and private collections; music company catalogues, labels on gramophone records, discographies; and supporting

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Gimenez-Perez, Alicia, Miguel Arana-Burgui, Rosa Cibrian, Salvador Cerda-Jorda, and Jaume Segura-Garcia. "Study of soundscapes in heritage festivals: the "Fallas" of Valencia, "Festa de la Mare de Déu d'Algemesí" and the "Moros y Cristianos" festival of Villena (Alicante)." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 1 (2023): 7265–75. http://dx.doi.org/10.3397/in_2023_1092.

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The conservation of the Intangible Cultural Sound Heritage of Humanity is one of the most important assets of a people as it is linked to its culture and history. Its evaluation by means of objective acoustic and psycho-acoustic parameters makes it possible to characterise these environments from objective, aesthetic and emotional criteria. The description of the soundscape is governed by the ISO 12913 standard. The procedure for assessing soundscapes in outdoor sites is carried out with sound-walks. In this work, we have evaluated two different soundscapes in festivities in Spain: "Fallas" in

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Mhlambi, Thokozani N. "“Opening Up the Future”." Journal of Musicology 42, no. 1 (2025): 63–89. https://doi.org/10.1525/jm.2025.42.1.63.

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This article considers Hugh Tracey’s 1952 book African Dances of the Witwatersrand Gold Mines in relation to the history of music scholarship in southern Africa. Its first finding is that sound recordings and archives were crucial in the making of disciplines such as ethnomusicology and ethnology in Africa, and that Hugh Tracey was at the forefront of this process, especially in southern Africa. Its second finding is that Tracey’s project contributed to the discourse of tribing that was popular at the time, both in academic disciplines such as ethnology and in practical enterprises such as com

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Baker, Ed. "Bioacoustic and Ecoacoustic Data in Audiovisual Core." Biodiversity Information Science and Standards 8 (November 19, 2024): e142073. https://doi.org/10.3897/biss.8.142073.

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Audiovisual Core (Audiovisual Core Maintenance Group 2023), is the TDWG standard for metadata related to biodiversity multimedia. The Audiovisual Core Maintenance Group has been working to expand the standard to provide the terms necessary for handling sound recordings. Audiovisual Core can now handle acoustic metadata related to biodiversity from single species (bioacoustics) to the ecosystem scale (ecoacoustics).BioacousticsThe Natural History Museum, London has a significant collection of recorded insect sounds (Ragge and Reynolds 1998) that are often directly linked to museum specimens (Fi

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Rice, Timothy, and Dave Wilson. "Creating a Global Music History." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (December 7, 2022): 1–6. http://dx.doi.org/10.30819/aemr.10-1.

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The authors use the mission statement of the ICTM Study Group on Global Music History to present issues they faced in writing a global music history intended for use in schools of music (conservatories) in the United States. They argue that all global music histories will of necessity be written from some position on the globe, not from “outer space”; explain how they constructed a chronology going back thousands of years from sound recordings all made in the twentieth century; and outline their pedagogical goal of introducing music students to the full range of human music making today.

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Eyerly, Sarah. "Reconstructing the Intangible Cultural Heritage of the Moravian Missions." Journal of Moravian History 22, no. 2 (2022): 187–93. http://dx.doi.org/10.5325/jmorahist.22.2.0187.

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ABSTRACT This article discusses the application of digital sound technologies within the field of Moravian studies through the case study of Moravian Soundscapes, a digital companion project to the book Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania (Bloomington: Indiana University Press, 2020). Through sound recordings, digital and historic maps, and archival materials from the Moravian Archives in Bethlehem, Pennsylvania, and Herrnhut, Germany, as well as place-based photography, the project documents and reconstructs the soundscapes of eighteenth-centur

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de Graaf, Tjeerd, and Natalia Svetozarova. "History of the Phonogram Archive in St. Petersburg and the use of its audio materials for the study of endangered cultures in Russia." Rodnoy Yazyk. Linguistic journal, no. 1 (July 2025): 16–40. https://doi.org/10.37892/2313-5816-2025-1-16-40.

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The Phonogram Archive at the Pushkin House in St. Petersburg houses an important collection of historical sound recordings. They are related to investigations in the field of ethnomusicology and ethnolinguistics. The archive is involved in the recording, restoration, description and study of the audio materials on folklore, language and ethnography, as well as their publication in the form of academic collections and audio anthologies. The materials in the Phonogram Archive form the basis for a multifaceted study of Russian folklore, interethnic relations in Russia and other aspects of culture

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Baker, Ed, and Yoke-Shum Broom. "Natural History Museum Sound Archive I: Orthoptera: Gryllotalpidae Leach, 1815, including 3D scans of burrow casts of Gryllotalpa gryllotalpa (Linnaeus, 1758) and Gryllotalpa vineae Bennet-Clark, 1970." Biodiversity Data Journal 3 (December 21, 2015): e7442. https://doi.org/10.3897/BDJ.3.e7442.

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The Natural History Museum (NHM) sound archive contains recordings of Gryllotalpidae, and the NHM collection holds plaster casts of the burrows of two species. These recordings and burrows have until now not been made available through the NHM's collection database, making it hard for researchers to make use of these resources. Eighteen recordings of mole crickets (three identified species) held by the NHM have been made available under open licenses via BioAcoustica. 3D scans of the burrows of <i>Gryllotalpa gryllotalpa</i> (Linnaeus, 1758) and <i>Gryllotalpa vineae</i> Bennet-Clark, 1970 hav

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Devine, Kyle. "Decomposed: a political ecology of music." Popular Music 34, no. 3 (2015): 367–89. http://dx.doi.org/10.1017/s026114301500032x.

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AbstractThis article is about what recordings are made of, and about what happens to those recordings when they are disposed of. It inscribes a history of recorded music in three main materials: shellac, plastic and data. These materials constitute the five most prevalent recording formats since 1900: 78s, LPs, cassettes, CDs and MP3s. The goal is to forge a political ecology of the evolving relationship between popular music and sound technology, which accounts not only for human production and consumption but also material manufacture and disposal. Such an orientation is useful for developin

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Howley, Joseph A. "Aural Philology and the Latin Recordings of the Harvard Vocarium." PMLA/Publications of the Modern Language Association of America 135, no. 2 (2020): 363–69. http://dx.doi.org/10.1632/pmla.2020.135.2.363.

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Philology is Often Taken to Be a Matter of Eyes and Hands: We Make Sense of Written Text, And Then Write Down Our Findings. This essay is interested in philology as a matter of the ear. Since Walter Ong declared the fundamental opposition of orality and literacy, humanists have located the lost, spoken origins of written text in the realm of orality. By contrast, aurality, the way texts are encountered by the ear, is a condition of consumption, which is to say reading, and so by considering aurality we are also considering the history of reading.Sound recordings, created by phonographic techno

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LANE, CATHY. "Voices from the Past: compositional approaches to using recorded speech." Organised Sound 11, no. 1 (2006): 3–11. http://dx.doi.org/10.1017/s1355771806000021.

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This paper investigates some of the ways in which composers and sound artists have used recordings of speech, especially in works mediated by technology. It will consider this within a wider context of spoken word, text composition and performance-based genres such as sound poetry. It will attempt to categorise some of the compositional techniques that may be used to work with speech, make specific reference to archive and oral history material and attempt to draw some conclusions.

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Drever, John L., Aysegul Yildirim, and Mattia Cobianchi. "London Street Noises: A Ground-Breaking Field Recording Campaign from 1928." Acoustics 3, no. 1 (2021): 118–36. http://dx.doi.org/10.3390/acoustics3010010.

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In a leading article by Sir Percival Philips in the UK popular newspaper, the Daily Mail, July 16, 1928, came the following headlines: “Millions Lost by Noise – Cities’ Worst Plague – Menace to Nerves and Health – What is Being Done to Stop it”. The article was supported by research from Prof Henry J. Spooner, who had been researching and campaigning on the ill-effects of noise and its economic impact. The article sparked subsequent discussion and follow-up articles in the Daily Mail and its international partners. In an era of rapid technological change, that was on the cusp of implementing s

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Serene, Frank H. "Motion Pictures, Videotapes and Sound Recordings at the National Archives." Historical Journal of Film, Radio and Television 16, no. 1 (1996): 55–67. http://dx.doi.org/10.1080/01439689600260091.

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Leech-Wilkinson, Daniel. "Sound and Meaning in Recordings of Schubert's “Die junge Nonne”." Musicae Scientiae 11, no. 2 (2007): 209–36. http://dx.doi.org/10.1177/102986490701100204.

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Musicology's growing interest in performance brings it closer to musical science through a shared interest in the relationship between musical sounds and emotional states. However, the fact that musical performance styles change over time implies that understandings of musical compositions change too. And this has implications for studies of music cognition. While the mechanisms by which musical sounds suggest meaning are likely to be biologically grounded, what musical sounds signify in specific performance contexts today may not always be what they signified in the past, nor what they will s

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Kolomyyets, Olha. "„ПАМ’ЯТЬ СВІТУ”: ЗАПИСИ ПРУССЬКОЇ ФОНОГРАФІЧНОЇ КОМІСІЇ ВІД ВІЙСЬКОВОПОЛОНЕНИХ УКРАЇНЦІВ У НІМЕЦЬКИХ ТАБОРАХ ПЕРШОЇ СВІТОВОЇ ВІЙНИ З ФОНДІВ БЕРЛІНСЬКОГО ФОНОГРАМАРХІВУ (ФАКТОГРАФІЧНІ АСПЕКТИ)". Ethnomusic 19, № 1 (2023): 112–42. http://dx.doi.org/10.33398/2523-4846-2023-19-1-112-142.

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The article highlights for the first time the material connected to the sound recordings of Ukrainians from WWI Prisoner-of War Camps in Germany, that were made during 1915-1918 years by the members of the Prussian Phonographic Commission which included Carl Stumpf (the head of the Commission), Georg Schünemann, Wilhelm Doegen among others. This article is a result of the author’s personal research conducted at the Berlin Phonogram Archive and explores the factographic documents that include the data about the sound recordings themselves, the history and process of the creation of the document

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Cox, Ph.D., Dale, Raymond Sage, and Joe Mason. "Introducing MTEA Voice and the Development of a Musical Theatre Singing Voice Glossary: Registration." Musical Theatre Educators Alliance Journal 5, no. 2024 (2024): 44–55. http://dx.doi.org/10.62392/kiad3870.

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Descriptive language is used in voice teaching and during the rehearsal process to provide feedback and adjustments to performers. Problematically, there is little agreement about what terms describe what sounds. Additionally, a performer may describe a sound differently to their voice teacher, director, or music director. This article has two parts. The first section introduces MTEA Voice with a short history of the development of this community. The second section provides a concise, introductory glossary to terminology regularly used in musical theatre singing, including registration, belt,

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Bakhmatova, M. N. "Центральный институт аудио- и видео наследия Италии: прошлое и настоящее THE CENTRAL INSTITUTE FOR SOUND AND AUDIOVISUAL HERITAGE OF ITALY: THE PAST AND PRESENT". Вестник антропологии (Herald of Anthropology), № 2022 №2 (7 червня 2022): 310–19. http://dx.doi.org/10.33876/2311-0546/2022-2/310-319.

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В статье рассказывается об истории основания Центрального института аудио- и видео наследия Италии и об эвристических возможностях хранимых в нем источников. Институт берет свое начало из частной коллекции звукозаписей «Голоса великих», переданной в 1927 г. государству. Так как первые фонды состояли преимущественно из аудиоматериалов на граммофонных пластинках, ему было присвоено название «Государственной дискотеки». Благодаря усилиям первого директора фонды стали пополняться и видеоматериалами. Кроме того, Дискотека стала превращаться из хранилища преимущественно пропагандистских материалов в

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[凌嘉穗], Ling Jia Sui. "Home-Coming: The Repatriation of Historical Recordings." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 91–96. http://dx.doi.org/10.30819/aemr.7-7.

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This article deals with the provocative questions of repatriating recordings stored in large and small archival institutions, mainly audio or video recordings, to source communities. While this topic is often, disputed within the framework of sound and audio-visual archivists, it is rather rarely, investigated with academic vigor based personal experience in the field of music research. This paper attempts to start closing the knowledge gap and exchange ideas between those with practical experience and those with musicological background but not necessarily intense experiences. The article pro

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Askeroi, Eirik. "Who is Beck? Sonic markers as a compositional tool in pop production." Popular Music 35, no. 3 (2016): 380–95. http://dx.doi.org/10.1017/s0261143016000544.

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AbstractThroughout the history of music recording, the use of certain technologies and instruments has left distinctive marks on recordings – marks that imply an intrinsic relationship between an era and a sound. At the same time, producers and artists have taken advantage of this relationship, constructing and otherwise exploiting what I have elsewhere conceptualised as sonic markers. This study explores how Beck's use of sound as a compositional tool constructs sonic markers that have in turn contributed profoundly to the formation of his musical identity. First, I take into account Beck's u

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