Researching vintage brass bands from the early 1800s to the mid-1900s. Their formation, histories, pictures, contesting, memorabilia, recordings, publications etc. All material is made available for all to access via the IBEW archive: http://www.ibew.co.uk. I am collating primary and secondary material about the history of bands across the world. I recently completed the historical directory “Brass Bands of the British Isles”, with nearly 20,000 bands since 1800 (available, together with my other publications, from https://gavinholman.academia.edu), and am currently working on brass and cornet bands of the USA. Various other works on brass band history and culture have been published, including the Brass Band Bibliography – a comprensive listing of published materials about the worlds of brass and military bands. Previously Head of IT Operations at the British Library, with expertise in computer management, digital libraries, archiving, project management and review.
The Smiths are one of the most commercially successful and in uential bands to emerge from the British post-punk movement in the 1980s. Along with elements such as lyrics, harmony, and musical form, a key component of The Smiths’ distinctive musical style involves their sound and, in particular, their sound as represented on studio recordings. Drawing upon the work and insights of scholars such as Albin Zak, Allan F. Moore and Ruth Dockwray, this paper details the complex recording history of the band’s rst single ‘Hand in Glove’ in an attempt to trace the development of The Smiths’ unique recorded sound.
Jonathan Sterne is Professor and James McGill Chair in Culture and Technology in the Department of Art History and Communication Studies at McGill University. He is author of MP3: The Meaning of a Format (Duke 2012), The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003); and numerous articles on media, technologies and the politics of culture. He is also editor of The Sound Studies Reader (Routledge, 2012) and co-editor of The Participatory Condition in the Digital Age (Minnesota, 2016). His new projects consider instruments and instrumentalities; mail by cruise missile; and the intersections of disability, technology and perception. Visit his website at http://sterneworks.org .
Space for discussion and work of the technology subcommittee. Tasks Livestreaming technology planning Virtual meeting technology Backup technology plans Gathering permissions Livestreaming/recording – permissions Members Bal Krishna Dhakal Brian Atkinson (firstname.lastname@example.org) Titi Kou Felix Oke A. James Akinola
Brass bands are, of course, musical organisations first and foremost, and the bulk of their heritage is bound up in the hundreds of thousands of concerts, marches, contests and other performances they have provided their audiences with over the years. Very few of these live performances were ever recorded, at least until recent years, and we must depend on the formal studio recorded performances to enjoy the music of the bands of the past. Many such recordings still exist in personal collections, music libraries, archives, the bands themselves and, more recently, digital archives which have digitised recordings from older media, cleaned up the sound and preserved them in digital audio files. This paper gives an outline of various sources and resources for archived vintage (and not so vintage) recordings in physical repositories and on-line databases.
I teach modernism, sound studies, and film & media at the New School. I am a postdoctoral fellow in the Price Lab for Digital Humanities at the University of Pennsylvania, working on a project titled, “The Sound of Yoknapatawpha: An Acoustic Ecology.” I am particularly interested in the history of sound technology, its entanglements with race, and what these can tell us about the novel as form.
Curatorial note from Digital Pedagogy in the Humanities: This assignment is focused on sound and encourages both careful listening practices and composition practices that are controlled and deliberate. Contemporary culture is visually saturated, making it easy to neglect the role of sound, particularly as it impacts multimodal compositions. To prepare students for the project, Vicki Callahan assigns readings from sound scholar Michel Chion, asking students to apply his listening strategies to the soundtrack of a seminal cinematic scene. From there, students acquire and assemble a series of soundtracks, both found and recorded, and edit them into a soundscape that offers a new slant on a particular concept or event. This project can be adopted by others quite easily. Adding a viewing of “Scary ‘Mary Poppins,’” a short video that demonstrates the power of sound by recutting the trailer for Mary Poppins with scary music, could enhance the preparatory work.
Recent theorizations of archival silence signal a heightened and expanding concern with information that is lost, concealed, destroyed or simply not available for scholarly use. As our access to the archive becomes more dependent upon technologies of the interface, scholars exhibit increasing concern about the impact of digital affordances and constraints on record-keeping, research and artistic production. As digital archives are technocultural artifacts, developments in the field of science studies can provide insight into the interdependence and coevolution of the social, cultural and material factors shaping archival silence. Donna Haraway, Karen Barad, Bruno Latour and others have shown how machine and human agents form tightly linked networks that must be understood as dynamically integrated wholes. Digital archives lend themselves to this kind of exploration of the entanglement of matter and meaning; content and device, human and machine elements. We can thus understand digital archives not as singular physical entities, but as a set of possibilities shaped by the convergence of social and material factors.
This report summarizes the results of ethnographic research that I carried out in 2011-12 on the music recording industry in Nairobi, Kenya, under the auspices of the European Research Council-funded Music Digitisation Mediation (MusDig) project. For more on MusDig, visit http://musdig.music.ox.ac.uk.