Sound recordings

and Piano (major instrument) (from the Long Distance Learning Department of the "Gheorghe Dima" National Academy of Music) and a Master's degree in Musicological Syntheses from the same institution. She has worked as a piano teacher and accompanist at the "Augustin Bena" Music School and as a music secretary at the "Transylvania" State Philharmonic. She has also hosted the "Clujul cultural" TV show at the Alpha-Prima TV station in Cluj-Napoca for over 70 editions. She has authored numerous articles, interviews, reviews and previews in the Intermezzo journal and in the Făclia newspaper. As of October 2014, she has been a collaborator of the "Steaua" cultural magazine, for the music review column. She has received research scholarships from universities in Cambridge,

Communication interception is not a new area of development in telecommunication management globally, particularly in the western world. However, this concept is alien to Nigeria as it conflicts materially with the constitutional provision that guarantees privacy of communication. This study examines the on-going efforts by the Nigerian Communication Commission (NCC) to introduce interception of communication in Nigeria vis-a-vis the constitutional provision for citizen's rights to privacy of communication. Being a constitutionally guaranteed right, the study concludes that the process that should mid-wife interception of calls ought not to be through regulations. Among other things, it is recommended that the NCC works with the National Assembly to initiate appropriate legislation or constitution amendment so as not to make the entire exercise a nullity.

En la jerga de los coleccionistas, llamábamos “Libros acústicos” de la Odeón Argentina a misteriosos e inaccesibles elementos, que suponíamos reflejaban las fichas de grabación. Aclaro que estas “fichas” contienen todos los datos inherentes a las sesiones, día por día. Por ello cuando hacia 1990 pude tener acceso a esos codiciados “Libros”, me resultó decepcionante comprobar que en absoluto mostraban esos datos. En realidad eran un listado ordenado por los números de discos, sin precisar un dato elemental: las fechas de grabaciones. Ni tan siquiera, el año. Como la Odeón asignaba en forma caótica los números de discos a sus artistas, la confusión es mayor todavía. Para el caso de la OT Firpo en la década del ’10, la serie 4xx es posterior a la 5xx. Por eso he ordenado las páginas de modo que presenten coherentemente la obra de los diversos intérpretes. Es lo que en el libro aparece escrito: “Continúa en hoja xxx” En cuanto a los números matriciales, constaban sólo en los registros efectuados después de fines de 1919, faltando aquellos correspondientes al período iniciado en 1913, al instalarse los estudios de grabación definitivos. Y de este lapso 1913-1919, había numerosos faltantes. Es decir, discos que ni siquiera estaban listados. Pero hablando de faltantes, de las numerosas grabaciones por equipos “volantes” hechas circa 1907 (discos de etiqueta marrón de 27 y 17,5 cm de diámetro) y 1910 (discos de etiqueta azul y 25 cm), directamente no había absolutamente nada, como si la Odeón ni supiese que las había realizado. Otro dato intrigante en estos listados manuscritos, es la sucesión de diferentes grafías indicando variados escribientes. Quienes a su vez completan los datos en bloques numéricos de variada extensión: alguien puede aparecer completando una página o más, el siguiente una decena de discos y un tercero tal vez sólo uno. Resulta extraño, pues no sería lógico que diversos empleados abandonasen otras tareas para escribir “un rato” en los listados y luego dejarle lugar a otro compañero. A su vez, alguien reemplazó el contenido manuscrito de las primeras páginas de la OT Canaro…¡por otras mecanografiadas! Realmente un misterio. Por otra parte, las escrituras suelen ser muy difíciles no diría de “leer”, sino de “descifrar”. Lo cual, sumado al deplorable estado de las páginas con faltantes en sus bordes internos y/o externos, complica la tarea del investigador. En mi caso obligó a completar información en otras fuentes (observación de discos, publicidades, catálogos, registro de obras, partituras, etc) para realizar mis discografías. Pero bueno, es lo que hay y lo ofrezco para lo que pueda ser de utilidad.

This article presents historical reflections on relations between music theory and musicology in Norway. More specifically, it asks two questions: What roles has music theory played in musicology in Norway (i.e. as part of musicology education and research)? To what extent has music theory been considered as musicology in Norway (i.e. existing as a distinct subdiscipline of research)? Taking these questions as its point of departure, the article presents the first discussion of the broad intertwining of the histories of music theory and musicology in Norway. It argues that there has long been a shared (regulative) music theory discourse between conservatoire education and university musicology education. The picture is more complex regarding music theory in/as musicology research. Music theory in Norway has existed uneasily between being an established practical-pedagogical field (in both conservatoire and university contexts) and having a somewhat unclear position within musicology research. There are, however, recent tendencies that indicate a stronger focus on music theory research in Norway, including closer contact with the established international (primarily Anglo-American) field of academic music theory. The article is an edited version of the author’s trial lecture for the PhD degree.

Salvatore Bancheri and Michael Lettieri have an extremely useful and very well-organized introductory Italian language primer for people interested in learning about the language and culture at home. It addresses Conversation, grammar, culture, reading, and writing. There are excellent recordings that accompany the entire program.

Embouchure, along with the activities of breathing and tongue, is one of the main components for qualitative sound creation in the playing brass instruments. In practice, there are various views about principles and methods of creating the embouchure, however, when talking about choosing the appropriate pedagogical methods, it would be important that the methods are based on the knowledge on the physics of the sound creation, as well as the anatomy of embouchure and psychophysiological processes. The article looks at the most important contradictions in this area and presents logical solutions for creating the embouchure in the pedagogical work for music school teachers and students.

The shape of the first sound recordings was dominated by the mechanical lathe, and for the most part their containers as well. And yes, those cardboard and wooden cylinder contraptions were patented too. Gaze upon some of the earliest designs here, with unusual details not generally explored in histories of this type.

Alongside with theatre, a bright feature of Karlsons’s music is choreography and the corresponding space of dance theatre because ballet is a dance theatre. Karlsons’s contribution to the genre of ballet is laconic in quantity while substantial in quality. All ballets have been composed at different stages of his creative life, and their themes differ in style, genre and imagery. Another title of the ballet “Into the Fire” (a play by the Latvian playwright Rūdolfs Blaumanis Ugunī) is “A Concerto for Orchestra in Five Movements after Reading Blaumanis”. The first artistic achievement of the genre lies both in the field of ballet and concert. It can be considered a substantial and qualitative impulse for his future creative work, as the symbolism of this ballet lays ground for the next ballet that was created as a result of studying the writings of the Latvian poetess Aspazija and her play “The Silver Veil” (Sidraba šķidrauts). This ballet is the quintessence of Karlsons’s symbols and...

This essay addresses the following points: (1) The general content and format of a course syllabus, (2) the course purpose, goals and objectives, (3) the instructor's beliefs, (4) a content outline for the course, (5) possible textbooks, (6) a list of supplementary readings by category, (7) the methods of instruction, and (8) student feedback and grading procedures.

This dissertation explores changing perspectives on performance practice for the well-known solo guitar work Choros No.1 composed in 1920 by Heitor Villa-Lobos (1887-1959), by documenting different interpretations heard on selected recordings from across the 20th century and into the 21st century. The methodology considers the recordings as the main object of study. Choros No. 1 features a hybrid style that makes it especially interesting for a research method that captures performance details such as articulations, dynamic and agogic accents, timbre, and tempo flexibility. This dissertation will consider performance decisions that are not often discussed in the research. For example, the question of how to accent the syncopations in this music properly. Performers use different techniques to emphasize notes beyond the accents on the score, from dynamic accents to agogic accents or other means. The question is, how do guitarists decide which accents to add (if any) to their performances? Recorded evidence will be collected to show the variety of answers to this question, without privileging any particular interpretation. At the conclusion of the study, there will be some account of which technical choices are more common and which performances can be grouped together by shared interpretations. Another original question considered in this study is whether one interpretive choice may affect other choices that a guitarist makes while performing this work. For example, if an exceptionally slow tempo is chosen to begin the performance, how does that affect the guitarist’s response to tempo changes later in the piece? The resulting study will help guitarists to understand better the history of performing the music of Villa-Lobos and it will provide a new perspective from which to make informed choices about interpretation.

Music as a form of art has evolved and changed overtime, bringing in new beats and incorporating old ones. Artists have been able to do this in many ways and one of these ways is by music sampling. Music sampling is simply taking a portion of an existing audio recording, extracting its elements and re-using in another audio recording or song. Samples may comprise of elements such as rhythm, melody, speech or otherwise portions of one song and infusing it into another to form a unique creation of music. Sampling in the music industry has been spanning for decades and have grown in popularity overtime within the Nigerian sphere and also abroad. Sometimes the use of sampling is to create a form of nostalgia or to appraise past musical influences while creating new and fresh sounds. Good examples of sampling are Burna boy’s “Last last” which sampled Toni Braxton’s “Not man enough” or Ayra Starr’s “Stability” which sampled the popular “Coupe Bibamba” by Awilo Longomba.
This article serves to explore and discuss the legal implication of music sampling with relation to existing regulatory legislations with focus on the recent case between Pa Edo Monday and Shallipopi on copyright infringements in the song “OBAPLUTO” as well as the effect the conclusion of this case would have on Copyright laws in Nigeria.

Often, what you are looking for turns out to be in seemingly the most unexpected places. For example, we found sound recordings of Azerbaijani musical folklore at the Institute of Russian Literature of the Russian Academy of Sciences. Moreover, while the Russian Academy of Sciences itself is located in Moscow, the Institute, known as 'Pushkinsky Dom' (The Pushkin House), is in St. Peterburg. However, knowing the prehistory, it becomes clear how and why the sound recordings of Azerbaijani traditional music ended up there. As a result of the work carried out at the Pushkin House, we could establish that these materials were collected by folklore expeditions in the third decade of the 20th century in Transcaucasia. Sound recordings of musical folklore were made by Khristofor Kushnarev (leader), Evgeny Hippius, and Zinaida Evald in 1927-1929. Although the destination of their expeditions was identified as the Armenian and Georgian Republics, the recordings include numerous samples of Azerbaijani musical folklore. The Ministry of Culture of the Republic of Azerbaijan acquired the copies of these recordings, which are now stored in the State Museum of Musical Culture of Azerbaijan.

Partindo do problema central da produção de alteridades como elemento-chave na constituição do mundo moderno, e seguindo a perspectiva aberta por Jennifer Stoever e seu conceito de “linha de cor sonora”, o artigo tem foco na indústria fonográfica brasileira em seus primeiros estágios de desenvolvimento. Busca-se problematizá-la como um lugar de fixação e reverberação de representações sonoras raciais e étnicas, materializadas em fonogramas de 78 rotações gravados nas primeiras quatro décadas do século XX por cantores, músicos e compositores negros. Argumenta-se que a dinâmica de incorporação desses músicos no sistema de entretenimento alimentado pelas indústrias fonográficas do período passava necessariamente pela exploração de estereótipos em que elementos como etnicidade, comicidade, sensualidade, primitivismo e exotismo exerciam papel central, elaborados precedentemente em registros literários e musicais.

Beethoven’s monumental contribution to the world of music has affected generations of musicians and music-lovers. He was one of the greatest masters of form, experimenting with possibilities unknown to music until his time. Beethoven developed vast musical structures through expansive symphonies and sonatas. Later in life, he also thrived on the intimacy of a quintessentially Romantic form – the miniature. He was one of the pioneers who sculpted and handed over the miniature to the Romantic composers of the latter part of the nineteenth century. This essay is a musical analysis on these miniatures, of Beethoven’s Bagatelles Opp. 119 and 126, and of some of the general features of Beethoven’s Late Period, particularly as they impinge on the Bagatelles.

This work provides graphic support for the musical album of the folklore group "Wuauquikuna" from Ecuador: the group's logo, disc packaging, presentation booklet, as well as advertising materials in the form of a poster, banner, poster for city monitors are being developed. An analytical review is carried out, a search for a graphic solution is presented, original layouts of graphic and advertising products are presented.

This article analyzes the representation of Chilean "folk" voices in the Smithsonian Institution's U.S. catalog, and specifically its Folkways, Monitor, and Paredon labels. Each, in its own way, sought to record and disseminate the sounds of the peoples of the world, whether for educational, solidarity, or proselytizing purposes. This article examines the discursive strategies carried out to profile "authentic" voices, questioning the lax treatment of the information collected and its relationship with the recorded sounds. Therefore, I seek to make visible the participation of ethnomusicology professionals in the production of musical images for North American and international audiences. Likewise, this article emphasizes the political uses the producers hoped to give to the albums within the context of progressive transformations with a popular intention.

In the Introduction to my forthcoming book, I consider how live recordings have commonly been critiqued and evaluated by critics, fans, and scholars. Much of this introduction is devoted to excavating and uncovering the roots of an ideology of musical liveness that emerged in the United States in the late 1920s. As I suggest, it was during this time that a rhetorical discourse was being cultivated that served to elevate the experience of music made in the presence of “living musicians” over that of recorded, or “canned,” music. More specifically, I describe how this discourse of liveness was developed in response to the economic and professional hardships that confronted many musicians following the rise of recorded sound and, in particular, the intro- duction of synchronized sound in theaters. I also consider how the emergence of the live record as a market- able commodity beginning in the 1950s served to reassert the primacy of live performance in the imagination of consumers. By the middle of the 1960s, commercial live recordings offered musicians and record companies the opportunity to make a real profit on the perceived value and the imagined worth of “liveness,” an idea that was now being packaged and sold to a new generation of record buyers and audiences at the dawn of the rock era.

With copyright law in the United States lying primarily in the realm of federal law, the laws of the U.S. states concerning copyright do not typically attract significant attention from scholars, practitioners, and policy makers. Some recent events have drawn attention to state copyright laws – for example, litigation against a satellite radio provider for infringement of state common-law public performance rights in pre-1972 sound recordings. However, in general, state copyright laws remain largely in the shadow of federal copyright law, and state law is typically not viewed as a particularly useful vehicle for pursuing the policies that copyright law should support. Yet, when used effectively, state copyright law, together with state law in other areas such as contract, tax, employment, and environmental law, may assist states in promoting state interests in innovation and creativity. This article explores the limits of state law concerning copyright and uses four copyright-relate...

Following the digitization of archival records of ethnographic work conducted among Yemeni Jews in the early 1970s, we presented these findings to the same community at the same location, fifty years later. In this renegotiation, our interlocutors radically undermined the credibility of our archival material. We analyze the audience’s reactions and the way they reflect different ethnographic dynamics, contextualizing their critical position in the tensions between archival knowledge and lived repertoire in general, and specifically in relation to traumatic experiences of Yemenis in Israel. Finally, we discuss how the suspicion toward the archive is embedded in larger current discourses on “truth” and “facts” and how in this context, it can be beneficial to scrutinize tradition archives in a community setting.@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:3 0 0 0 ...

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 article discusses the use of original compositional methods in the first movement of Ludwig van Beethoven’s Piano Sonata W. O. O. 47 No. 2 in F minor “Kurfürsten”, adopted to innovate the sonata on a structural level, but also to offer it a greater variety of characters. The alternation of slow sections with fast ones within the movement, the opening of the work with a slow introduction, repeated in the recapitulation, which was first used by the composer at the age of 13, as an absolute premiere in music history, gave rise, years later, to a masterpiece of the 18th century, the Sonata Op. 13 in C minor “Pathétique”, one of the best known, innovative and impressive works written by him, but also to another important and creative work from the beginning of the 19th century, the Sonata Op. 31 No. 2 in D minor “Tempest”.

While it was Cage who foregrounded the significance of silence as an act in his ground-breaking composition 4'33", it was Miles Davis who made the performative value of the silent space or absence of sound even more explicit when he drew attention to the notes one does not play. This article examines the significance and role of silence in music. However, a number of questions remain about how musicians use, perform and understand silence in relation to sound and how silence potentially plays a role in the listener's perception of the player's authorial or expressive voice. The aims of the study reported in the article were threefold: (i) to identify how silence is manifest in performance practice; (ii) to identify whether silence in a musical excerpt can affect the listener's perception; and (iii) to further our understanding of the role of silence as a parameter of performance creativity. We explored the ways in which two musicians perform silence in relation ...