The article explores the processes and changes to the everyday working lives and conditions of labour of the professional musicians in the turbulent years of the great economic crisis of the 1930s, ...exacerbated by the increasing presence of mechanical music (gramophone records, radio broadcasts and sound film) in the spaces and contexts previously reserved exclusively for the live music performances. Central to the author’s discussion are the experiences, perspectives and evolving discourses of the interwar Zagreb musicians involved in the unionised struggle for better conditions of labour and dignity of their profession. By bringing their voices to the fore, the author aims to underline the Janus faced nature of the technologies of mechanical transmission and reproduction of music, and thus to contribute to the existing historiographies of local discography, fi lm and radio by bringing to the fore the previously often omitted perspectives of ordinary working musicians directly affected by the changing realities of music labour market resulting from the introduction of the mechanical music.
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 information - texts and advertising images from newspapers,
memoirs and memoir literature as primary and secondary sources. The sought
ethnomusicological approach is achieved through a combination of different
research methods: ethnographic, historical, discographic, cultural,
anthropological. The results of the research present the role of commercial
recordings in musical and popular culture in Bulgaria in the years leading
up to the First World War, cultural life, musical history, musicing,
intercultural interactions, the cultural choices of Western and local,
Slavic and Balkan, traditional music in non-traditional modern contexts, art
music in popular contexts, and the role of professional musicians.
A significant part of the Radio Belgrade programme, especially in the years
before the establishment of instrumental and choral ensembles within this
institution, was comprised of music recordings. ...Although gramophone record
concerts were presented within the programme announcements, they were not
considered in more detail in existing studies of music on Radio Belgrade.
One of the reasons for this could be limited access to the data on the
gramophone record concerts. Thus, for the first analysis of this segment of
the music programme, the author has focused on the first year in which
weekly radio programme announcements were printed in Radio Beograd: nedeljni
ilustrovani casopis. The announcements contained data about music numbers,
recordings companies, and serial numbers of the records played. More
precisely, the series of His Master?s Voice concerts, named after the label
of records exclusively broadcast in the programme, were examined in the
period from October 1930 to October 1931. This particular series was chosen
because of the importance of the label in both the global and local mu?sic
industry and the continual broadcasted of His Master?s Voice records on
Radio Belgrade. Furthermore, the diversity of programme conceptions of
concerts within the series indicates the particular ways in which
gramophone record concerts were designed. Based on the series of His
Master?s Voice concerts, three methods of categorising gramophone record
concerts are suggested. In addition, the paper offers little known archival
data on gramophone record distributors who borrowed records to Radio
Belgrade for marketing purposes.
Na temelju odabranih snimaka istaknutih pjevača sevdalinke, koji su vezani uz različite društvene kontekste njezina izvođenja – Nikola Stojković 1937, Sofka Nikolić potkraj 1920-ih i Zaim Imamović ...1950-ih, kao i relevantnih komparativnih snimaka iz tih i kasnijih desetljeća, u radu se analiziraju značajke glazbene interpretacije ovoga žanra. U tome se autorica oslanja na pojedine postupke i identificirane elemente za analizu razvijene u okviru studija snimljene glazbe, uključujući i korištenje softvera koji olakšavaju analizu, a paralelno s time, vodeći se težnjom za kulturno utemeljenom analizom, na tumačenja glazbene interpretacije koja su pružili relevantni sugovornici. S obzirom na vremensku distancu od primarnih aktera analiziranih primjera, takvi su »sugovornici« ponajprije stručnjaci za sevdalinku iz razdoblja bližih dobu njihova nastanka i ujedno njezini poklonici, a medu njima se ističe Vlado Milošević sa svojom studijom iz 1964. godine.
The paper presents France Marolt’s endeavours spanning many years to acquire the recording devices that he planned to use for documenting folk music in the field, as well as for his research work and ...various forms of educational and cultural activities. The main focus is on researching the circumstances in which sound recordings on gramophone records were made in collaboration with Radio Ljubljana, and on the first sound collection of the Institute of Ethnomusicology ZRC SAZU, which consisted of these records. The records have a special documentary value and, combined with archival documents, convey Marolt’s view of folk music.
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The article presents the research of instrumental traditional music in the Slovenian space carried out by associates of the ZRC SAZU Institute of Ethnomusicology. It examines the audio resources ...available for the research of instrumental traditional music practices, as well as the orientations that have had an impact on the interpretation of the collected and analysed material.
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Gramophone records were the main recording medium for more than seven decades and regained widespread popularity over the past several years. Being an analog storage medium, gramophone records are ...subject to distortions caused by scratches, dust particles, degradation, and other means of improper handling. The observed noise often leads to an unpleasant listening experience and requires a filtering process to remove the unwanted disruptions and improve the audio quality. This paper proposes a novel approach that employs various feed forward time delay artificial neural networks to detect and reconstruct noise in musical sound waves. A set of 800 songs from eight different genres were used to validate the performance of the neural networks. The performance was analyzed according to the outlier detection and interpolation accuracy, the computational time and the tradeoff between the accuracy and the time. The empirical results of both detection and reconstruction neural networks were compared to a number of other algorithms, including various statistical measurements, duplication approaches, trigonometric processes, polynomials, and time series models. It was found that the neural networks' outlier detection accuracy was slightly lower than some of the other noise identification algorithms, but achieved a more efficient tradeoff by detecting most of the noise in real time. The reconstruction process favored neural networks with an increase in the interpolation accuracy compared to other widely used time series models. It was also found that certain genres such as classical, country, and jazz music were interpolated more accurately. Volatile signals, such as electronic, metal, and pop music were more challenging to reconstruct and were substantially better interpolated using neural networks than the other examined algorithms.
The Thai 78 rpm Discographical Framework is a complete listing of all known 78 rpm recordings of Thai music, the first of its kind for any Southeast Asian nation. Initial analysis of the Framework ...and its content suggests that a significant but as yet unacknowledged factor in the "golden age of Thai song" in the 1960s was the overlap between 78 rpm technology and 45 and 33 rpm technology. When major companies abandoned the 78 rpm format, singer-songwriters and small publishing companies gained a foothold in the Thai recording industry. The result was the industry's fragmentation and increased creativity.
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Статья содержит обзор фонозаписей песнопений Русской православной церкви, осуществленных в начале XX в. Исследование проведено на основании отдельных сохранившихся каталогов, опубликованных записей и ...архивных материалов. В первой части работы рассматривается начальный этап грамзаписи духовной музыки на территории Российской империи, а также вопрос взаимоотношения церковных властей и звукозаписывающих компаний. Основное содержание данного раздела составляет перечень коллективов, ансамблей и солистов, искусство которых было зафиксировано на первые звуковые носители с 1901 по 1916 гг. В этом процессе участвовали как зарубежные, так и отечественные фирмы в Петербурге, Москве, Киеве, Харькове и Полтаве. Краткие характеристики даны хорам и священнослужителям, чьи записи сохранились до наших дней. Вторая часть посвящена рассмотрению церковно-певческого репертуара, записанного на пластинки. Список представленных композиторов весьма разнообразен по уровню и направленности. Наряду с наиболее популярными Д. Бортнянским, П. Турчаниновым и А. Архангельским, в него вошел широкий круг авторов преимущественно петербургской и московской школ, в том числе мало исполняемых ныне. Особое внимание уделено техническим проблемам, связанным с несовершенством техники той эпохи. На основании полученных сведений сделаны выводы о духовной музыке, которой отдавали предпочтение наиболее известные исполнители дореволюционной России.
Premda su gramofonske ploče sa snimkama iz Slovenije i Hrvatske proizvodile različite diskografske tvrtke, na počecima glazbene industrije u tim je zemljama važnu ulogu imala tvrtka Gramophone ...Company. Detaljna analiza njezine dokumentacije pokazuje da su snimke u Zagrebu i Ljubljani za tu tvrtku učinjene u razdoblju od 1902. do 1912. Neke od tih snimaka nastale su u najranijem razdoblju proizvodnje gramofonskih ploča uopće, prije nego što su to dosad pretpostavljali slovenski i hrvatski istraživači. Snimke u Ljubljani (oko 160) i Zagrebu (gotovo 600) za tu su diskografsku kuću u navedenom razdoblju učinila dvojica snimatelja, braća Franz i Max Hampe iz Berlina. Tako velikim brojem snimaka obuhvatili su raznolike izvođače, od poznatih opernih pjevača, glumaca i vokalnih skupina do zanimljivih instrumentalnih sastava (npr. tamburaškog zbora) i različitih puhačkih orkestara. Snimljeni repertoar sadrži popularne pjesme iz opera i opereta domaćih autora, govorene točke i kuplete iz šaljivih scenskih djela te marševe za vojničke puhačke orkestre. Tradicijska (narodna) glazba također je dobro zastupljena. Sustav alfanumeričkih kodova za matrice i ploče u kataloškim popisima kojima je tvrtka Gramophone Co. označavala pojedine snimke otkrivaju važne informacije o veličini ploče, tehnologiji snimanja, snimatelju, vrsti snimljenog sadržaja, području na kojem je sadržaj snimljen i za čije je tržište namijenjen, a na osnovi tih podataka je moguće odrediti i godinu snimanja. Rane snimke Gramophone Co. odražavaju prepletenost kulture Slovenaca i Hrvata. Mnogi su hrvatski umjetnici u svoj repertoar uključili slovenske pjesme koje su očigledno bile popularne i u Hrvatskoj. Važnu ulogu u tome imali su i slovenski umjetnici koji su djelovali u Hrvatskoj. Snimke na starim gramofonskim pločama danas svjedoče o zvučnoj sastavnici kulture na ovim prostorima na početku prošloga stoljeća i zbog svoje povijesne vrijednosti s pravom se mogu smatrati važnom glazbenom baštinom.
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