Phonographic Encounters: Mapping Transnational Cultures of Sound, 1890-1945

Contents

• Introduction
• Part I: Negotiating Geographical and Cultural Boundaries: Intermediaries, Traders and Operators
• Chapter 1. Sergio Ospina Romero, “Recording Studios on Tour: Traveling Ventures at the Dawn of the Music Industry”
• Chapter 2. Andreas Steen, “Global Transfer, Local Realities: Early Phonographic Practices and Challenges in China (1900-1914)”
• Chapter 3. Henry Reese, “Settler Colonial Soundscapes: Phonograph Demonstrations in 1890s Australia”
• Part II: Repertoires, Auditory Practices and the Shaping of New Listening Identities
• Chapter 4. João Silva, “Portugal and Mechanical Music in the Early Phonographic Era: An Intermedial Approach”
• Chapter 5. Eva Moreda Rodríguez, “Discòfils: Notes on the Birth of the Record Club and the Record Listener in 1930s Barcelona”
• Chapter 6. Ulrik Volgsten, “Mediatization of Music, Musicalization of Everyday Life: New Ways of Listening to Recorded Sound in Sweden during the Interwar Years, 1919–1939”
• Part III: Phonography and the Reordering of Knowledge and Sensibilities / Phonography as Ideology
• Chapter 7. Karina Zybina, “Recording music, making business: The Russian recording industry at the beginning of the 20th century”
• Chapter 8. Benedetta Zucconi, “‘Phonographic Awareness’: Recorded Sound in Early Twentieth-Century Italy between Aesthetic Questions and Economic Struggles”
• Chapter 9. Britta Lange, “The Construction of “das Volk” through Acoustic Knowledge. Recordings of “Ethnic German Repatriates” from the Institute for Acoustic Research, 1940-1941”
• Part IV: The Heterogeneous Geographies of Consumption
• Chapter 10. Jacques Vest, “The Aesthetic of Arrest: The Victor Talking Machine Company's Ready Made Windows Program, 1909-1913”
• Chapter 11. Siel Agugliaro, “The Phonograph as a Transnational Tool: Selling Music Records in Philadelphia’s Little Italy, 1900s-1920s”
• Chapter 12. Thomas Henry, “From the Grands Boulevards to Montparnasse: An Essay on the Geohistory of the Phonograph and Sound Recording Business in Paris (1878-1940)”
• Conclusion