Early Sound Recordings

Золотухин, В. 2023. “Синкопированный Гоголь. О фонографных записях Ревизора в постановке Вс. Мейерхольда.” Russian Literature 135–137 (January): 183–205. https://doi.org/10.1016/j.ruslit.2023.01.002.

https://www.sciencedirect.com/science/article/pii/S0304347923000029

The article provides commentary and background information on the audio recording of Nikolai Gogol’s The Inspector General, directed by Vsevolod Meyerhold in 1926. This performance was regarded by contemporaries as one of the director’s most significant works and as a striking achievement of Soviet theater in the 1920s. The wax cylinder captured a dialogue between Khlestakov (Erast Garin) and Anna Andreevna (Zinaida Reich—the only surviving voice recording of the actress) from Act III, Scene 6, in which Khlestakov boasts about the life he leads in St. Petersburg. The recording offers rare examples of Meyerhold’s approach to the speech of Gogol’s characters, which was influenced by experiments in modern music such as jazz and aligned with the general principles of Meyerhold’s biomechanics. The article contributes to our understanding of approaches to documenting twentieth-century theater, and Meyerhold’s performances in particular. It focuses on the research projects of the Institute for Artistic Speech Research (Leningrad), which initiated the sound recordings of this and other Meyerhold productions in 1927.

Artist statement: One of my main musical concerns is with  the "play of time," a dialogue between  present and past. It is possible for music to travel through time quite freely, by sliding through different contexts and  juxtaposing different influences. To look  at what has gone before and see these  origins in relation to the present is to observe tradition from a new perspective, removed from its usual context.

When engaging with cultural heritage, we encounter questions of authenticity, ephemerality and materiality in diverse, but unavoidably intertwined ways. This volume studies these interrelations and possible approaches to associated challenges by bringing together contributions from conservation science, material culture studies and museum studies. The temporal scope of the objects discussed stretches from a rather robust existence in time and space to the fleeting moment of a performance. The material dimension of the objects stretches from the monumental buildings of industrial heritage to seemingly immaterial, time-based media artworks.

The essay considers different types of piano rolls in view of the level of expressiveness they can express, despite being designed for mechanical reproduction. Likewise, the level of creativity they leave to the performer is assessed. The result is that rolls that guarantee maximum expressiveness leave less room for the performer's creativity and, vice versa, rolls in which expressiveness is not in any way codified and returned automatically, allow more room for the performer's creativity

Over the past few years, I have arrived at the conclusion that one should feel genuine sympathy for any researcher that is misfortunate enough to study early recordings.1 This is not because their area of research is so bewilderingly broad.2 Nor is it because researchers of early recordings are required to read so many different kinds of text.3 Rather, it is because no matter how far their scholarship advances, and no matter how significant their findings appear to be, scholars of early recordings are constantly questioned about the legitimacy of the very thing that they study. I have experienced this firsthand, since involving myself in a research project focused on the production and analysis of mechanical recordings; even though the findings of this project were disseminated far and wide, involving both academic and public audiences, specialists and non-specialists, questions about the legitimacy of early recordings almost always dominated proceedings. The precise nature of the questions varied, of course, as did the terminology used. The overarching sentiment remained the same: to what extent can we really trust early
recordings?

This study used motion ana ly sis and MIDI technol ogy to provide immediate feedback on pianists' sca le playing and to examine their technical performances in detail. Advances in techno logy today have made it possible to capture segments of recorded video and analyze them frame by frame. uncovering the finger, hand and arm movements that are occurring at all times, including compensatory movements of other fingers not involved. Sca le ana lysis software was used to analyze performances of scales in terms of velocity • note duration, note overlap, and inter-on set timing. Results suggest that technology-assisted biofeedback can assist pianists in examining technique in performance and in becoming aware of their hand positions and the subsequent sounds produced. Comparison of sca le analysis data and motion capture ana ly sis sugge sts some correlation between hand position and velocity, as well as some correlation between hand position and note overlap. Further inve stigation is needed to assess ifand how hand position affects the leve l of muscle tension. Pianists constantly work to improve technique, often repeating the same passage over and over again to get the right notes and to increase speed. Scales are a staple of pianists , practice regimen, often played over and over for extended periods of time at various speeds. As a result, misperceptions can develop by piani sts regarding their own playing. in particular. about technical actions and the auditory results. The first question of the study was what misperceptions , ifany, piano students might have regarding their performances when they are presented with feedback ?' The second question was what useful information on technique and performance could be gained through technology? Hand position and technical performance of students' scale playing was analyzed through motion analysis of finger. hand and arm movement, and recorded MIDI (musical instrument digital interface) data ofthe performance. Current research suggests that correct body alignment is essential and may be the answer to improved performance and mastery oftechnique.(Mark, 2003; Sandor 1995) Are students aware of body alignment when they practice? Can all of the intricate movements be seen with the naked eye and understood during performance? It is difficult to monitor the position of one's arms, hands and fingers when playing fast passages? Pianists tend to monitor movements as they are playing-according to their "feel"-rather than visually. Unfortunately, optimal movements not always are analyzed by piano teachers when they teach advanced leve ls of technique to their students. Repetitive practicing can result in the pianist becoming disengaged from attentively listening to the sounds produced and from the awareness of the

Introduction: This presentation delves into the profound relationship between coloratura, as a musical ornamentation, and the concept of Musical Subconscious, particularly focusing on the works of W. A. Mozart and G. Rossini. Methodology: Through the interdisciplinary lenses of philosophy and psychology, we aim to uncover the connections that exist within the human mind when exposed to intricate musical compositions. Results: Our objectives are to elucidate the role of memory, emotion, and creativity in shaping the musical experience, to analyze the distinct manifestations of the concept of musical subconscious in Mozart's and Rossini's compositions, and to explore the implications of psychology and philosophical-musical aesthetics of reception on our understanding of coloratura's impact. Conclusion: It is summarized that in this psychic symphony, the genius of Mozart and Rossini resonates like an echo that transcends not only space and time, but also the logos itself.

This article's context is that of specialized teaching of piano music teaching (individual and group), at beginner, basic and professional levels. Considering the peculiarities of each location, we felt the need to record the applicability of the piano teaching methodology of Linda Bustani (1951-) with whom we studied directly. This methodology was published in a book entitled Speaking of Piano with Linda Bustani and Luiz Eça by Moema Campos. It consists of basic work on the piano, which can be compared to that of a ballerina on the barre. According to Bustani, the trained hand prepares the pianist to achieve full technical mastery and thus be qualified for musical interpretation . Linda Bustani's piano teaching methodology, systematized in this article, has been applied by her since 1980 in Brazil, with significant success. Since the 2000s, we have developed this pedagogy as a piano teacher, applying it with students of different ages. We are currently working in Portugal, and we wonder if Linda Bustani's pianistic methodology has similarities with the approach used by teachers in Portugal. To this end, we developed a qualitative descriptive study, which used as data collection instruments, in addition to bibliographical and documentary research, a questionnaire survey to piano teachers. The results point to a similar technical-pianistic approach on the part of the teachers interviewed, despite not knowing with Linda Bustani's methodology.

This article documents a minor but charming moment in the history of Russian music. It involves the little-known Russian composer Peter Petrovich Sabouroff and the well-known Ukrainian/Russian pianist Vladimir de Pachmann. In 1906 Pachmann recorded a piano roll in which he added improvisations to a Polka composed by Sabouroff. I use the roll to create a previously unavailable score of the composition (including the improvisations) and an audio rendition of Pachmann’s playing of it. This rendition does not use a physical reproducing piano; instead, the details recorded on the roll were mechanically digitised and then converted to sound by computer means. Piano roll recording technology had at least three substantial limitations. One limitation is newly discovered here: uncertainty as to which notes were actually played by the pianist; it is dealt with by editing the data. A second limitation is well-known: loudness was recorded at only two levels for the whole keyboard at any one tim...

The BGP protocol, despite its importance, was conceived without any security mechanism to guarantee the authenticity of an advertisement. Thus, attackers can deviate Internet traffic by advertising fake routes, performing the attack known as prefix hijacking. On the other hand, software-defined networks have conferred great power of innovation to network administrators through programmability and logically-centralized control of the network. This work presents AS-Defender, a SDN-based solution that aims to combat IP prefix hijacking surrounding an Autonomous System, by detecting and mitigating attacks targeting its neighbors. Our experiments showed the effectiveness of the solution and how variables present in an inter-domain communication environment can influence its efficiency. Resumo. O protocolo BGP, apesar da sua importância, foi concebido sem qualquer mecanismo de segurança para garantir a autenticidade de um anúncio. Diante disso, atacantes podem desviar o tráfego na Internet mediante o anúncio de rotas falsas, realizando o ataque conhecido como sequestro de prefixo. Por outro lado, as redes definidas por software (SDN) têm conferido um grande poder de inovação aos administradores de rede, através da programabilidade e do controle logicamente centralizado da rede. Este trabalho apresenta o AS-Defender, uma solução baseada em SDN que visa combater o sequestro de prefixos IP no entorno de um sistema autônomo, detectando e mitigando ataques direcionados a seus vizinhos. Nossos experimentos mostraram a eficácia da solução e como variáveis presentes em um ambiente de comunicação interdomínios podem influenciar sua eficiência.

Published scores and manuscripts are often treated by musicians as a complete representation of a composer's intentions. Some musicians are even convinced that they are betraying the composer if they interpret a passage differently from the written text. However, performing music requires a high degree of personal involvement to be able to assimilate the emotional expressiveness that should then be communicated to the audience. It is true that the score is the principal tool available to composers for communicating their musical ideas, but this tool has limitations. A score is unable to describe all the composer's indications, being instead "an approximation which no two people can interpret in precisely the same way." 2 In 1895, Carl Reinecke (1824-1910) pointed out that written texts could never preserve subtle details of past styles, claiming that "there still remains much to be read between the lines which no composer can convey by signs, no editor by explanations." 3 Scores and manuscripts should be explored, but they should not always be taken as the definitive source. Enrique Granados (1867-1916) offers us an example why. When examining in detail his original manuscripts held in the collections at the Biblioteca de Catalunya, the Museu de la Música and the Palau de la Música in Barcelona, one has the feeling that the manuscripts are just a 'draft' of Granados's musical ideas. His artistry was in continuous development, and his works were always in the midst of a process of modification and transformation. Apart from changes made to the musical text by Granados himself, his published scores are in any case not always reliable. Even new, revised editions of his works are not always faithful to either the original manuscripts or recordings made by the composer. Musical elements such as slurs, accents, tenuto marks and other notational matters in the published editions fail to correspond to either the original manuscripts or to Granados's recordings. Furthermore, we need to be cautious when following editorial suggestions in a published score, as these can be filtered through the For their help and suggestions, I am grateful to

The double meaning of the title "Off the Record" of this intriguing new study of Romantic piano playing by Peres Da Costa refers to early recordings as well as to performance techniques not specified in published musical scores. The importance of the topic is considerable. That adequate performance entails more than the literal rendering of an Urtext score should be evident. How much freedom should we expect in musical interpretation, and what specific techniques are involved? 1. This recording appeared as Philips 446 093-2, as part of Brendel's comprehensive recording of the Beethoven sonatas.

In the spring of 1990 I was in Los Angeles and Robert Armbruster-then living in the area and 93 years old-kindly agreed to an interview at his home. He did not allow me to make an audio recording of the interview. Therefore, I hastily transcribed into a notebook as much as I could of the conversation. In the transcription below, I've edited in a few words enclosed in parentheses. These serve narrowly to clarify some of Armbruster's comments that-due the circumstances of the interview-I was unable to write out fully in my notes. I came prepared for the interview with a number of questions centering on Armbruster's work as roll artist at Aeolian, several of which he answered. In addition to his observations about the piano roll industry, he commented upon his wide-ranging, highly-successful career and some assessments of musical styles and other musicians. …Artis Wodehouse 12/26/23

The frontispiece of the 1919 US Government Printing Office publication “America's Munitions 1917-1918 Report of Benedict Crowell (Assistant Secretary of War, Director of Munitions)” was an image that at a cursory glance might appear somewhat familiar to many of us. What the image above purported to show was a notated visual representation of the final moments of World War I at 11am on the 11th November, 101 years ago. The image was, however, two recordings crudely spliced together with a one minute gap in the timeline.

As part of their centennial commemorations last year to mark the end of the Great War, the Imperial War Museums in the UK collaborated with a sound design studio to turn this 'visual record' into an audio
'experience':
codatocoda.bandcamp.com/album/iwm-ww1-armistice-interpretation

My curiosity was aroused and I began research into why the images were captured on what appeared to be 35mm film stock and whether there was any connection between this methodology of sound capture and the later experiments in optical soundtracks for film, albeit using variable density not variable area methods, by amongst others Theodore Case and Joseph Tykociner. This presentation will explain what was found or more importantly perhaps still remains to be found to tell the complete story of what has been described as the 'Manhattan Project' of the Great War.

I owe a debt of gratitude to Michael Aspinall for providing me with great insight into Luisa Tetrazzini's records and discographies, for reviewing an early version of the manuscript and making many valuable suggestions. My thanks also go to all the colleagues and students with whom I have been able to exchange views, experiment with ideas and reflect on the need to have musicians who are better informed about the facts of our musical history. This book is dedicated to Silvia. In my younger days only those dwelling in the great capitals could hope to hear such artists as Patti, Tamagno, Caruso, Battistini, and so forth, and even those only if means permitted, which was not often in the case of poor students. Today any one can enjoy this priceless privilege, wherever he may happen to reside, for a comparatively small outlay through the agency of the gramophone. 2 Tetrazzini, like anybody else at that time, did not have access to her colleagues or illustrious predecessors until audio recordings were made commercially available: 'Have I ever heard Patti? Melba? Not until quite recently', she admitted in 1908, 'except through a gramophone, which I listen to frequently'. 3 Although 'so imperfect a musical instrument', Tetrazzini became already familiar with this new technology at the outset of its development, having her voice recorded as early as 1904 for the American Zon-O-Phone. 4 However, it was on the occasion of her 1 Luisa Tetrazzini, How to Sing (New York: Doran, 1923), pp. 111-14. The same passage can be found at pages 103-05 of the first English edition (London: C.

In the present culture of operatic performance, artistry is measured not only by singers' musical interpretation and vocal technique, but also by their ability to communicate compelling characterization. This monograph explores a helpful technique for dramatic interpretation in opera. The discipline of musical performance provides helpful guides to characterization through elements such phrasing, rhythm, harmony, and instrumentation. Techniques borrowed from the spoken theater, particularly those pioneered by Constantin Stanislavski, include the Magic If, objectives, actions, and tactics. The literature on auditioning for the theater is useful for synthesizing these techniques for singers, because audition techniques emphasize compelling characterization with particular emphasis on an efficient preparatory process. Audition by Michael Shurtleff, a text in common use by theater practitioners, offers insights into techniques for actors in the audition scenario. Shurtleff's twelve guideposts outline a method for developing a viable interpretation of character without requiring an inordinate amount of time devoted to study of the given circumstances of the play. The guideposts are Relationship, Conflict, the Moment Before, Humor, Opposites, Discoveries, Communication and Competition, Importance, Find the Events, Place, Game Playing and Role Playing, and Mystery and Secret. Shurtleff's book details how each of these can be used to guide character interpretation in a direction that serves the needs of the play and the dramatic medium. The effectiveness of these guideposts can be understood by observing that each can be viewed as a device which clarifies one of Aristotle's six elements of drama: Plot, Character, Thought, Diction, Spectacle, and Song. Each of the guideposts can be used in various ways to understand the characteristics of the music in an operatic aria. This study explores the application of Shurtleff's guideposts to five arias for soprano. The arias analyzed are "Zeffiretti lusinghieri"

Nearly a century after the death of Russian pianist-composer Alexander Scriabin (1872-1915), his music remains as enigmatic as it was during his lifetime. His output is dominated by solo piano music that surpasses most amateurs' capabilities, yet even among concert artists his works languish on the fringes of the standard repertory. Since the 1980s, Scriabin has enjoyed renewed attention from scholars who have contributed two types of studies aside from examinations of his cultural context: theoretical analyses and performance guides. The former group considers Scriabin as an innovative harmonicist who paralleled the Second Viennese School's development of post-tonal procedures, while the latter elucidates the interpretive and technical demands required to deliver compelling performances of his music. Indeed, a flawless technique is no guarantee that a pianist can perform Scriabin's inscrutable scores convincingly. When Rachmaninoff toured Russia in 1916 playing all-Scriabin programs to commemorate the recently deceased composer, his well-intentioned tributes outraged attendees because the revelatory quality that had enthralled listeners when Scriabin performed his own works was sorely missing from Rachmaninoff's sober renditions. Grigorii Prokofiev, critic for the Russkaia muzykal'naia gazeta, observed, "You should have seen the disappointment with which the admirers of Scriabin's later piano works looked at each other as they heard the innocuous and prosaic interpretation of the Satanic Poem, or the academically chilled treatment of the Second and Fifth Sonatas." 1 The situation has improved little since then. Pianists' inability to summon the "special attitude and particular temperament" (Leikin, p. 279) that Scriabin's works require has been a major factor in his eclipse.

Musical works, recordings and their digitisations: new philosophical types Over the past hundred years, philosophers of music have debated the nature of, and relations that hold between, musical works and their performances. The gradual proliferation of recording and reproduction technologies over the same period further complicated such debates, encouraging some contemporary philosophers to consider similar relations between musical works and their recordings. In recent years, profound changes in the nature of such technologies have resulted in a new phenomenon, in which recordings of the past have been transferred from their original medium into the digital domain. Responding to this phenomenon, this article assesses the relations that hold between musical works, recordings and their digitisations. It starts by surveying existing theories that relate works and performances, paying particular attention to the realist notion of types and tokens. It goes on to consider three possibilities in which this notion might be employed and adapted in order to account for existence of recordings and their digitisations. The final of these three possibilities, which is viewed as the most plausible, does not merely offer a revisionist account of ongoing philosophical debates. Rather, it argues for a radical expansion of our understanding of musical works, and addresses the complex network of relations that they enter into with regard to recordings and digitisations.

Since universities and other institutions across the country continue to suffer from tight budgets and waning funding for preservation and digitization, projects "on a shoestring" are becoming the standard, and are expected by administrators. This presentation focused on a particular digitization project at the Westminster Choir College at Rider University. One of the most pertinent concepts to take away is that "shoestring" means different things to different institutions, and the biggest challenge is determining how much one can do with their own shoestring. Amy Kimura and Kenneth Kauffman of Westminster Choir College took on that challenge in an effort to preserve a collection of audio recordings with a connection to the institution. This included commercial recordings by persons linked to Westminster in some way, recordings of events that have taken place at the college, and broadcasts made by Westminster, from 1925 to the present in multiple recording formats. Beginning with a National Endowment for the Humanities (NEH) Preservation Assistance grant, Kimura and Kauffman developed a plan for assessing the collection's condition and preservation needs. The grant, which is intended for smaller institutions, encourages activities that will "improve their ability to preserve and care for their significant humanities collections." 1 Such activities may include collection assessment, consultations with conservation experts, and training for staff. Kimura and Kauffman also sought guidance from organizations and institutions with extensive knowledge and experience in audio collections and preservation, such as the Association for Recorded Sound Collections (ARSC),

This study assesses the reference collection management practices and strategies used in the reference departments of academic members of the Association of Research Libraries (ARL). Librarians who participate in the management of the humanities and social science reference collections within ARL member libraries responded to an online survey about collection development policies, acquisition processes, collection use, weeding, and marketing of their reference collections. The results of this survey suggest that a large percentage of academic ARL member libraries are weeding their collections regularly, measuring use of the print and electronic reference collection, and moving decidedly toward electronic reference materials.

John Vallier, Ethnomusicology Curator for University of Washington Libraries in Seattle, addresses community-based strategies for ethical management of ethnomusicology collections at his institution. Challenging traditional models of collection management, he argues for a collaborative approach to collection ownership and access that balances the needs of creators and users and emphasizes ongoing communications with an expanded community of cultural stakeholders. To elaborate his points, Vallier discusses two different collections that illustrate the range of materials maintained by modern ethnomusicology archives. For the first, a collection of late nineteenth/early twentieth-century Pacific Northwestern tribal recordings on wax cylinders and discs from anthropologist Melville Jacobs, Vallier shows how consultation with tribal members has impacted his archives’ strategies for digital access to collection materials. For the second, a collection of twenty-first century digital recordings of local music performances at Seattle’s Crocodile Café made by the club’s audio engineer, Vallier shows how outreach to represented performers similarly impacted his archives’ strategies for managing collection access. In both cases, he argues, ceding authority and control over collection materials, pursuing active dialog with groups represented in the recordings, and listening to the needs of both collection-creators and collection-users formed the foundations for an effective community-oriented audio archival practice.

The present study reports ways for phrasing the melodic line of pieces from different periods and styles, performed by graduate students in a preliminary reading. The study is grounded on Meyer`s Theory (1989) who considers music as language that has syntactic structures for conveying meaning. In a quasiexperimental approach, three advanced students separately learned three different pieces (dances) by three distinct composers (Haydn, Chopin, and Bartók) over the course of two practice sessions. In the first session, the students practiced each piece for thirty minutes using the score and then recorded one performance. In the second session the procedure was the same, except that some commercial recordings were made available for consultation by the students. This study showed that phrase shaping is manipulated through the timing, and direction of the melodic line, and both are based on stylistic features known by participants. In addition, recordings seem to have an important role in a preliminary reading and may influence interpretive choices.

Tracking the history of this company (Universal Talking Machine/Zon-o-phone) and manufactured product line is a major challenge for any serious researcher. There is little consistency in how the machines and discs were described ever since the days of "From Tin Foil to Stereo" (1959). The 7"-diameter single-sided records have often been described as being made (or altered) in 1899, which we now know is a serious error, although overlooked from PHP (1990-1991). This article is the first to compile the actual evidence behind the origins of the enterprise (by Berliner's own sales outlet) and still the most accurate narrative of its actual business and ownership of patents.

He compuesto una colección de Goyescas de gran vuelo y dificultad. Son el pago de mis esfuerzos por llegar. Dicen que he llegado. Por fin encontré mi personalidad Enrique Granados, 1910 Resumen La suite para piano Goyescas, Los majos enamorados, del compositor español E. Granados, es una colección de seis piezas inspiradas en la sociedad madrileña del s. XVIII que F. Goya retrató en sus cuadros. La fama de dicha suite pianística llevó además a Granados a crear una ópera homónima. Goyescas es, por tanto, un complejo trabajo artístico que interrelaciona la pintura, la poesía y la música, todo bajo un marcado contexto español. El amor y la muerte, quinto número de la colección, es una de las piezas con mayor relación con la pintura de Goya y con el resto de piezas de la suite por su carácter temático. En este artículo abordaremos y analizaremos este aspecto que nos facilitarán el entendimiento e interpretación de la pieza.

This article reports and interprets data collected from a 1995 survey of special collections repositories at Association of Research Libraries institutions. It covers part one of the survey—current practices in preservation management. One hundred thirteen institutions represented by 170 archives/manuscripts repositories were asked to participate, of which 143 institutions, or 84.1%, did so. This is the second largest sample of archives' preservation activities ever gathered in the United States. The goals of the study were, first, to create a base of data on the development of archival preservation programs in research institutions and interpret that data and, second, to understand the extent to which the archives and library preservation departments interact in their common mission to ensure the availability of research materials to present and future generations. The study is unique in its investigation of the interrelationships between the archival repository's and the l...

Grieg’s contribution to the nineteenth-century ballade genre is his monumental Op. 24 piano ballade which is cast in the unusual form of theme and variations. Musicological criticism, focusing predominantly on the musical text, has posited Grieg’s ballade as a split and deficient narrative structure with a relatively inert episodic first half and a dynamic conclusion. By turning to evidence from early recordings, this chapter seeks to rehabilitate such score-based accounts of Grieg’s Op. 24 which exclude the all-important temporal dimension of the composition’s expressive raison d’être and the agency of the performer in narrative construction. Specifically, the piano rolls of Eugen D’Albert and Percy Grainger, two pianists that can be situated close to the composer himself, are examined and discussed. These pianists’ styles, instilled with a freer and subjective handling of performance tempo, exemplify an aesthetic which espouses the rhetoric of time befitting the rhapsodic, sung-like character of folk ballads and associated cultural tropes of storytelling. These performances, captured in early recordings, not only afford the listener a renewed listening experience but also disambiguate issues of narrative design in Grieg’s Op. 24 further permitting a critical re-evaluation of this work’s unduly marginalised generic status.

During the 1950s, Radio Belgrade commenced its own production of gramophone records, which is the topic of this paper. These 78rpm records were issued under the label Jugodisk, understood as forerunner of the later established PGP RTB/RTS. However, in the absence of catalogues, the information on those records is scarce. It seems that records were not issued regularly and that only some of them were intended for the market. The paper is aimed at gathering the presently known data, including new research results based on the archived documents, newspaper articles, and a comparison of several collections of Jugodisk records and data on available records. The body of music presented is then duscussed in the context of the Yugoslav music and media culture of the time.

The interpretation of pianoforte music as taught by my great teacher, Clara Schumann, is a matter of tradition; and tradition meant very much in those days now so far off. We were not guided merely by editions brought out, more or less responsibly, by contemporary musicians. Tradition, as we all know, is that which is handed down from father to son, or from teacher to pupils who themselves turn into teachers, and Clara Schumann may be said to have had this in direct descent from Bach and Beethoven. As for Schumann, Chopin and Mendelssohn, the one was her husband and the other two were friends close enough for her to remember what it was they wanted. 1 Adelina de Lara, 'Clara Schumann's Teaching' Schumann's pedagogical significance has long been acknowledged. 2 Specialized studies have mined her students' memoirs and recordings to build arguments for historically informed performance practices. 3 Her influence transcended her pupils, shaping not only piano performance, but concert culture and, indeed, the understanding of music's aesthetic role, for over a century. 4 From a music-historiographical perspective,

The book Phonographic Encounters: Mapping Transnational Cultures of Sound, 1890-1945 contains 12 chapters (framed by an introduction and a conclusion penned by editors Roy and Moreda Rodríguez respectively) dedicated to the exploration of protagonists, spaces and places beyond the main narrative on the major inventors, labels and performers explored in the histories of early recording industry thus far. The contributions were originally presented at the conference Early Sound Recording Technologies: Transnational Practices, History and Heritage, held at the University of Glasgow in June 2018 (Moreda Rodríguez, p. 262). The collection does not follow any obvious unifying or universal aims or narrative linearity. The result of such an approach is an exploration of ways in which phonography and the music industry took root in social, cultural and political contexts as diverse as: the turn of the 20th century China, tzarist Russia, World War II Germany or the Little Italy in Philadelphia, US in the first decades of the 20th century. These circumstances brought forward, among others, the roles of record engineers, record retailers, window dressers, founders and members of record clubs. Here, phonography is understood as "a dynamic and multivalent socio-material practice of recording, collecting, retrieving and passing on sound-involving a vast variety of intermediaries, materials, machines and localities" (Roy, p. 1).

In recent years, early recordings have become a primary source of musical research in multiple music disciplines. Such recordings, typically dating from the late 1800s through to the early 1900s, employed mechanical sound-reproduction technologies to capture performances by many of the leading figures of the time. As such, they offer valuable insights into the aesthetic tendencies and preoccupations of the late nineteenth and early twentieth century musicians, capturing and preserving performance styles, traditions and musical approaches of an age that has long-since passed. Unfortunately, very little research has been done into the production of such recordings and, as a result, we do not know to which extent musicians needed to adapt or change aspects of their performances when recording mechanically. This lack of knowledge has implications for any research that employs early recordings as a primary source within contemporary musical research. In response, this article introduces ...

Музика емитована с грамофонских плоча чинила је значајан део програма Радио Београда, посебно у годинама пре формирања ансамбала у оквиру ове институције. Иако су концерти грамофонских плоча били често заступљени у најавама програма, нису до сада били предмет опширније расправе. Један од разлога је свакако ограничена доступност података о концертима грамофонских плоча. Због тога је у обзир узета прва година у којој су подаци о нумерама, издавачима и броју плоча штампани у часопису Радио Београд: недељни илустровани часопис (октобар 1930 – октобар 1931). Прецизније, одабрана је серија такозваних His Master’s Voice концерата, с обзиром на значај ове издавачке куће у светском и локалном контексту, заступљеност плоча на Радио Београду, али и разноликост програма поменутих концерата који указују на начин обликовања програма концерата грамофонских плоча уопште. На основу ове серије предложена су три начина категоризације концерата грамофонских плоча. Поред тога, у раду су представљени мало познати архивски подаци о продавцима грамофонских плоча који су сарађивали с Радио Београдом.

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 časopis. 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 music 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.

Academic archivists have an opportunity to document the lives of key members of the institution. An oral history interview is one way of effectively presenting and preserving institutional history from multiple perspectives. This article discusses a recent oral history program at Rollins College conducted by the College Archives as part of a studentfaculty research project. These oral history interviews add human voices to the existing archival records, and enhance the understanding of liberal arts education from a faculty's perspective. As a tool to survey and preserve institutional history, the Rollins oral history research program provided students with meaningful learning experiences, raised the awareness of the special collections, and promoted the value of the archival services in the academic community. The program had as a long-term objective the establishment of a new college tradition to interview each faculty member upon his or her retirement.

The beginning of the 20 th century was marked by a complex cohabitation of the hypertrophic heritage of the ›romantic‹ era and harbingers of modernity. This period between 1900 and the outbreak of the First World War, when musical traditions of the 19 th century were still widespread, 2 also saw the dawn of commercial music recording. The musical artwork now entered the phase of its technical reproduction, at a time when many of Wagner's close collaborators were still active musicians. A golden age for gathering performance practice information, one might think. But recordings are by no means straightforward sources. The very early acoustic recordings of Wagner's music seem to be emblematic for this often problematic relationship between expectations and content. You could exemplify this phenomenon with a recording of the tenor Otto Briesemeister singing Loge in 1907. 3 This recording is a highly interesting document regarding vocal technique when singing Wagner, but it seems problematic to deduce more musical information from it. Any quest for information about ›interpretation‹-that is, rubato, phrasing, speed, displaying structure, nuances and affects-produces only modest results. It seems hard to over

This report explains how to use an archival assessment to develop a strategic plan and advocate for support for folklore archives housed within larger institutions. We focus especially on how to manage collections in order to increase public awareness and use of archival materials while also considering how to prioritize projects based on such factors as the rate at which various materials are degrading, available labor and funding, incoming donations, development related to mission and organization trends, and researcher interests. We also suggest how to balance short-term concerns with long-term goals. This report is specific to our own context at a large university but will include a description of general approaches and practices that will be useful to other folklore archival collections that are attached to a variety of institutions. 1

Resumen Enrique Granados ha sido considerado un icono español, un referente de la primera generación modernista surgida a partir de la segunda mitad del siglo XIX. La valorización positiva del folclore y de la historia de la música, así como su voluntad de internacionalización se muestran en la primera de sus obras maestras: Danzas españolas. A través de la Danza nº 7 «Valenciana» el presente artículo se propone ahondar en el conocimiento de Granados sobre la música popular tradicional valenciana y el tratamiento de sus melodías y rasgos distintivos. Asimismo, se pretende dilucidar los vínculos-profesionales y personales-que el compositor tuvo con Valencia a partir de las relaciones con la familia Gal-Lloveras y con el crítico, periodista y compositor Eduardo López-Chavarri Marco.

Alongside the model embellishments Mozart composed for various keyboard works, he also wrote embellishments for contemporary arias including ‘Ah, se a morir mi chiama’ from Lucio Silla, the concert aria ‘Non sò d'onde viene’ K.294 and ‘Cara, la dolce fiamma’ from J.C. Bach's Adriano in Siria. Although these have been overlooked in the critical literature, they shed light on many aspects of Mozart's art of melodic decoration. In this article, I begin by examining these notated operatic embellishments: their textual histories, the styles of elaboration they evince, the pacing with which they unfold, and their motivic construction, as well as their relation to broader trends in Mozart's style. I then explore the embellishments Mozart composed into the texts of his other operas, arguing that these served not only a musical but also an aesthetic purpose, furthering elements of characterisation and drama, particularly in Le nozze di Figaro, Don Giovanni, and Così fan tutte...

Clara Wieck-Schumann was one of the leading concert pianists of the nineteenth century. Born in Leipzig, Germany, in 1819, she received her musical training from her father, Friedrich Wieck, with whom she began touring Europe at the age of twelve. At the age of eighteen, Clara Wieck had her international breakthrough in Vienna, where she rose to unprecedented fame and was appointed Imperial and Royal Court Virtuosa by Ferdinand I. She had fallen in love with the composer Robert Schumann two years earlier and Vienna marked a turning point not only in her career but also in her relationships with her father and Schumann. Friedrich Wieck, who as her manager and had shaped her artistic reputation for many years, battled fiercely with Schumann over the control of his daughter’s fortunes, but eventually lost her when she married the young composer in 1840. Clara WieckSchumann’s story has long fascinated biographers and film makers and has been represented in several ‘fictionalised biograp...

The preservation of radio broadcast archives faces an uphill battle related to multiple issues, including appraisal, assessing uniqueness, format obsolescence and media degradation, and lack of institutional infrastructure. Some solutions are offered.

This paper presents the outcomes of a three--year doctoral investigation, in which the author examines stylistic and aesthetic trends in the performances of Granados, with the aim of producing a detailed and painstaking examination of the pianistic tradition inherited by the Spanish composer. The differing and equally convincing pianistic styles of Granados' followers call into question the validity of only one possible "authoritative" interpretation when approaching this particular performance tradition. The thorough analysis of Valses poéticos op.43 written by Granados allowed a closer look at performance practices of Granados and the musical tastes of his time. This early work is especially relevant due to the significant number of its original sources. This investigation has unearthed a treasure trove of new and detailed information about this wonderful pianistic legacy left by Granados, and the Catalan Piano School. Furthermore, it raises questions about current performance practices and the stylistic validity that pianists might be able to give in their performances of Granados' works through a combined study of his manuscripts, pedagogical methods, recordings and performance tradition.

Published scores and manuscripts are often treated by musicians as a complete representation of a composer's intentions. Some musicians are even convinced that they are betraying the composer if they interpret a passage differently from the written text. However, performing music requires a high degree of personal involvement to be able to assimilate the emotional expressiveness that should then be communicated to the audience. It is true that the score is the principal tool available to composers for communicating their musical ideas, but this tool has limitations. A score is unable to describe all the composer's indications, being instead "an approximation which no two people can interpret in precisely the same way." 2 In 1895, Carl Reinecke (1824-1910) pointed out that written texts could never preserve subtle details of past styles, claiming that "there still remains much to be read between the lines which no composer can convey by signs, no editor by explanations." 3 Scores and manuscripts should be explored, but they should not always be taken as the definitive source. Enrique Granados (1867-1916) offers us an example why. When examining in detail his original manuscripts held in the collections at the Biblioteca de Catalunya, the Museu de la Música and the Palau de la Música in Barcelona, one has the feeling that the manuscripts are just a 'draft' of Granados's musical ideas. His artistry was in continuous development, and his works were always in the midst of a process of modification and transformation. Apart from changes made to the musical text by Granados himself, his published scores are in any case not always reliable. Even new, revised editions of his works are not always faithful to either the original manuscripts or recordings made by the composer. Musical elements such as slurs, accents, tenuto marks and other notational matters in the published editions fail to correspond to either the original manuscripts or to Granados's recordings. Furthermore, we need to be cautious when following editorial suggestions in a published score, as these can be filtered through the

This paper explores the extent of expressive tempo modifications as a function of textual content in four operatic arias recorded by Adelina Patti between 1905 and 1906. Their analysis made it possible to determine to what extent significant tempo modifications coincide with those moments in the music, in which special emphasis is demanded by the lyrics. A twofold approach was adopted: the paradigms of historical musicology provided the conceptual tools necessary to define the context, reconstruct the vocal practice, and understand the relationship between the lyrics and the compositional solutions underpinning them; the degree of tempo variability for each aria was determined by empirically measuring the crotchet beat lengths and by calculating the value of mean, mode, standard deviation and coefficient of variation. Results show that Patti's renditions of the four arias present tempo modifications which are instrumental to the expression of their dramatic content, as recommend...

for granting me the intellectual freedom necessary to carry out the research which has kept me deeply absorbed for many years. Although a lonely enterprise, this volume was brought to a close with the help of many people. I would like to thank Alessandra Tosi and the editorial team of Open Book Publishers for the unflagging enthusiasm with which they welcomed my proposal and guided me through the challenges that such an undertaking involved. My thanks go to Katherine Ellis, who was director of the Institute of Musical Research, School of Advanced Study, University of London in 2009, when I started investigating this topic as Visiting Fellow there. Other musicologists have provided me with invaluable help, even unwittingly, by giving me advice on sources, singers and many other related questions. Special thanks go to Marco Capra, Director of CIRPeM (Centro Internazionale di Ricerca sui Periodici Musicali), Emanuele Senici, Marco Beghelli and Dorottya Fabian. This book originates from a doctoral dissertation completed at the Faculté des Lettres, l'Université de Fribourg (Switzerland) which I defended on 12 March 2015. I am grateful to my supervisor Luca Zoppelli, to the second referee Alessandro Roccatagliati and to the president of the jury, Dimiter Daphinoff, for their incisive comments. This book is dedicated to my children, Camilla and Samuele.