東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

"The following record": Making sense...

Feaster, Patrick.

FindBook

Google Book

Amazon

博客來

"The following record": Making sense of phonographic performance, 1877--1908.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	"The following record": Making sense of phonographic performance, 1877--1908./
作者:	Feaster, Patrick.
面頁冊數:	722 p.
附註:	Adviser: Richard Bauman.
Contained By:	Dissertation Abstracts International68-05A.
標題:	Folklore. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3264321
ISBN:	9780549024644

"The following record": Making sense of phonographic performance, 1877--1908.
Feaster, Patrick.

"The following record": Making sense of phonographic performance, 1877--1908. - 722 p.

Adviser: Richard Bauman.

Thesis (Ph.D.)--Indiana University, 2007.

This dissertation extends our knowledge of early sound recording practices by tracing the initial construction of the "phonogenic frame," a mode of behavior intended to yield phonograms or "records" for use on future occasions rather than performances for immediate apprehension by a traditional audience. By combining close listening to actual surviving phonograms with a survey of contemporaneous writings about them, I document a variety of acoustic, structural, and linguistic adaptations through which people in the United States first sought to make the phonograph "work" meaningfully as a medium of performance.

ISBN: 9780549024644Subjects--Topical Terms:

528224
Folklore.

"The following record": Making sense of phonographic performance, 1877--1908.
LDR:03057nam 2200313 a 45 001 943276
005 20110520
008 110520s2007 ||||||||||||||||| ||eng d
020 $a 9780549024644
035 $a (UMI)AAI3264321
035 $a AAI3264321
040 $a UMI $c UMI
100 1 $a Feaster, Patrick. $3 1267315
245 1 0 $a "The following record": Making sense of phonographic performance, 1877--1908.
300 $a 722 p.
500 $a Adviser: Richard Bauman.
500 $a Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 2108.
502 $a Thesis (Ph.D.)--Indiana University, 2007.
520 $a This dissertation extends our knowledge of early sound recording practices by tracing the initial construction of the "phonogenic frame," a mode of behavior intended to yield phonograms or "records" for use on future occasions rather than performances for immediate apprehension by a traditional audience. By combining close listening to actual surviving phonograms with a survey of contemporaneous writings about them, I document a variety of acoustic, structural, and linguistic adaptations through which people in the United States first sought to make the phonograph "work" meaningfully as a medium of performance.
520 $a I begin with an account of the first public demonstrations of Thomas Edison's tinfoil phonograph in 1877-78, which---contrary to received opinion---were far from simple as sounds were "reproduced" at different speeds or backwards, layered one over the other into elaborate montages, and otherwise manipulated to create novel effects. Next, I introduce the key factors that shaped the commercial recording industry between 1888 and 1908 (the new arts of sound recording, phonogenic performance, and phonograph exhibition, coupled with imperfect methods of duplication) and some speech conventions that arose to fit the distinctive exigencies of new sound media (e.g., the word "hello" in telephony and the spoken phonogram announcement). The remainder of the dissertation explores the phonographic representation of an assortment of individual performance genres ranging from minstrel shows to auctioneering chants, from sales pitches to vaudeville acts, and from band music to dance calling.
520 $a I conclude that early phonographic practice involved much creative reworking of "recorded" subject matter and the emergence of new conventions that were as essential to the success of the medium as was the development of the machines themselves. In particular, my analysis reveals an enduring tension between two modes of phonographic representation in which the listener was respectively invited to eavesdrop on an event or to become a full participant in it---a distinction with broad formal and social implications.
590 $a School code: 0093.
650 4 $a Folklore. $3 528224
650 4 $a History, United States. $3 1017393
650 4 $a Music. $3 516178
690 $a 0337
690 $a 0358
690 $a 0413
710 2 $a Indiana University. $b Folklore and Ethnomusicology. $3 1028123
773 0 $t Dissertation Abstracts International $g 68-05A.
790 $a 0093
790 1 0 $a Bauman, Richard, $e advisor
791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3264321