• Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio

    Editor(s): Timothy D. Taylor, Mark Katz, Tony Grajeda
    Pages: 432
    Illustrations: 20 illustrations
    Sales/Territorial Rights: World
  • Cloth: $109.95 - In Stock
    978-0-8223-4927-3
  • Paperback: $29.95 - In Stock
    978-0-8223-4946-4
  • Quantity
  • Add To Bag
  • General Introduction: Music Technologies in Everyday Life / Timothy D. Taylor 1

    Part 1. Sound Recording

    Introduction / Mark Katz 11

    Sound Recording: Readings 29

    Predictions 29

    The Listener and the Phonograph 44

    Learning to Listen 44

    The Phonograph in Everyday Life 48

    The Phonograph and Music Appreication 65

    Men, Women, and Phonographs 70

    Music and the Great War 78

    Performers and the Phonograph 84

    In the Recording Studio 84

    The Phonograph and Music Pedagogy 94

    The Phonograph and the Composer 104

    The Composer in the Machine Age 104

    The Phonograph as a Compositional Tool 110

    Phonograph Debates 113

    Con 113

    Pro 126

    Part II. Cinema

    Introduction / Tony Grajeda 137

    Cinema: Readings 145

    Technologies of Sight and Sound 145

    Sounds of the Cinema: Illustrated Song Slides; The Role of the Voice (lecturers, actors); Incidental Musics, Special Effects, Ballyhoo, and Noise of the Audience 153

    Playing to the Pictures 173

    Performative Accompaniment 173

    The Organist of the Picture Palace 192

    Conducting and Scoring to the Movies 200

    Taste, Culture, and Educating the Public 212

    Responding to the Talkies 226

    Part III. Radio

    Introduction / Timothy D. Taylor 239

    Radio: Readings 255

    Radio as Dream, Radio as Technology 255

    Early Broadcasts: Performer and Listener Impressions 266

    Radio in Everyday Life 275

    Healing 279

    Economics of Radio Broadcasting 285

    Advertising 288

    Music on the Radio 301

    Con 301

    Pro 305

    What Do Listeners Want? 311

    Crooning 316

    Radio Behind the Scenes 324

    Getting on the Air 324

    Talent 340

    Production behind the Scenes 344

    Composing for the Radio 354

    How to Listen to Music on the Radio 361

    Notes 367

    References 387

    Index 399
  • Association for Recorded Sound Collections (ARSC) Certificate of Merit in the Best General Research in Recorded Sound category

  • “A fascinating new book on early media. . . . A delightful read.”

    “As a resource, the collection is very usable and particularly student-friendly. The introductions are insightful without being exhaustive, which encourages further inquiry and discussion by providing guidance and direction to sound studies, cultural studies, and technological studies. This approach creates a versatile collection that is not only useful for research and scholarship, but which is also strikingly teachable.”

    “Measuring the cultural importance and metaphysical weirdness of that change is part of the project of Music, Sound, and Technology in America, an anthology of fascinating artifacts whose prosaic title belies its insights into the early years of the recorded-sound era. . . . [T]he editors of Music, Sound, and Technology in America exhibit a canny ear for the electrifying echoes between then and now.”

    “Part history of technology, part reception studies, this anthology gathers advertisements, sales agents’ scripts, personal accounts, editorials and letters from hobbyist journals of the early days of recorded sound... At its best, the selections convey an eyewitness sense of first reactions to new technologies, before users’ expectations ossified… What shines through the book is how new technologies have opened up cultural battlegrounds for creativity, access and control.”

    “The editors have selected and assembled their material with perspicuity and wit, and anybody interested in the infancy of sound recording, cinema, and radio is guaranteed to experience frequent ‘aha!’ moments that transport them with a simple turn of phrase to the mind-set of an earlier age.”

    Taylor, Katz, and Grajeda have culled print and visual materials from the popular press, trade journals, and company archives that neatly capture the excitement of the new enterprises of radio, sound recordings, and film and the quandaries surrounding these media. . . . Highly Recommended. Upper-division undergraduates through faculty.”

    “Although the book is aimed at scholars and students (the book would work admirably as a reader for any number of courses in music, media studies, or history), Music, Sound, and Technology in America will appeal to nearly anyone who has an interest in exploring further the fascinating early history of phonography, cinema, and radio from the perspective of its founders, critics, and consumers. Truly a landmark documentary in every way, this collection should go a long way in stimulating further historical work in the field.”

    “This is a much needed anthology…. We owe the three editors a considerable debt for doing the necessary research and for organizing and explaining the value of what they have unearthed.”

    Awards

  • Association for Recorded Sound Collections (ARSC) Certificate of Merit in the Best General Research in Recorded Sound category

  • Reviews

  • “A fascinating new book on early media. . . . A delightful read.”

    “As a resource, the collection is very usable and particularly student-friendly. The introductions are insightful without being exhaustive, which encourages further inquiry and discussion by providing guidance and direction to sound studies, cultural studies, and technological studies. This approach creates a versatile collection that is not only useful for research and scholarship, but which is also strikingly teachable.”

    “Measuring the cultural importance and metaphysical weirdness of that change is part of the project of Music, Sound, and Technology in America, an anthology of fascinating artifacts whose prosaic title belies its insights into the early years of the recorded-sound era. . . . [T]he editors of Music, Sound, and Technology in America exhibit a canny ear for the electrifying echoes between then and now.”

    “Part history of technology, part reception studies, this anthology gathers advertisements, sales agents’ scripts, personal accounts, editorials and letters from hobbyist journals of the early days of recorded sound... At its best, the selections convey an eyewitness sense of first reactions to new technologies, before users’ expectations ossified… What shines through the book is how new technologies have opened up cultural battlegrounds for creativity, access and control.”

    “The editors have selected and assembled their material with perspicuity and wit, and anybody interested in the infancy of sound recording, cinema, and radio is guaranteed to experience frequent ‘aha!’ moments that transport them with a simple turn of phrase to the mind-set of an earlier age.”

    Taylor, Katz, and Grajeda have culled print and visual materials from the popular press, trade journals, and company archives that neatly capture the excitement of the new enterprises of radio, sound recordings, and film and the quandaries surrounding these media. . . . Highly Recommended. Upper-division undergraduates through faculty.”

    “Although the book is aimed at scholars and students (the book would work admirably as a reader for any number of courses in music, media studies, or history), Music, Sound, and Technology in America will appeal to nearly anyone who has an interest in exploring further the fascinating early history of phonography, cinema, and radio from the perspective of its founders, critics, and consumers. Truly a landmark documentary in every way, this collection should go a long way in stimulating further historical work in the field.”

    “This is a much needed anthology…. We owe the three editors a considerable debt for doing the necessary research and for organizing and explaining the value of what they have unearthed.”

  • "Music, Sound, and Technology in America provides a useful overview of the impact of technologies on American music and musical culture. It is a valuable resource, an engaging, well-organized anthology that will raise provocative questions for students of American cultural history." — Michele Hilmes, author of, Radio Voices: American Broadcasting, 1922–1952

    "Filled with great selections, Music, Sound, and Technology in America is a salutary addition to a media studies literature lacking in such sourcebooks. It provides a ready-made trove of primary source material to use in classroom discussions of historical interpretation and methodology. In addition, by juxtaposing materials on diverse aspects of sound, the editors avoid the persistent habit of segmenting sound studies by medium or mode." — Jonathan Sterne, author of, MP3: The Meaning of a Format

  • Permission to Photocopy (coursepacks)

    If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

    If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

    Permission to Reprint

    If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

    Images/Art

    Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
    For book covers to accompany reviews, please contact the publicity department.

    Subsidiary Rights/Foreign Translations

    If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

    Disability Requests

    Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

    Rights & Permissions Contact Information

    Email: permissions@dukeupress.edu
    Email contact for coursepacks: asstpermissions@dukeupress.edu
    Fax: 919-688-4574
    Mail:
    Duke University Press
    Rights and Permissions
    905 W. Main Street
    Suite 18B
    Durham, NC 27701

    For all requests please include:
    1. Author's name. If book has an editor that is different from the article author, include editor's name also.
    2. Title of the journal article or book chapter and title of journal or title of book
    3. Page numbers (if excerpting, provide specifics)
    For coursepacks, please also note: The number of copies requested, the school and professor requesting
    For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought
  • Description

    This unique anthology assembles primary documents chronicling the development of the phonograph, film sound, and the radio. These three sound technologies shaped Americans' relation to music from the late nineteenth century until the end of the Second World War, by which time the technologies were thoroughly integrated into everyday life. There are more than 120 selections between the collection's first piece, an article on the phonograph written by Thomas Edison in 1878, and its last, a column advising listeners "desirous of gaining more from music as presented by the radio." Among the selections are articles from popular and trade publications, advertisements, fan letters, corporate records, fiction, and sheet music. Taken together, the selections capture how the new sound technologies were shaped by developments such as urbanization, the increasing value placed on leisure time, and the rise of the advertising industry. Most importantly, they depict the ways that the new sound technologies were received by real people in particular places and moments in time.

    About The Author(s)

    Timothy D. Taylor is Professor of Ethnomusicology and Musicology at the University of California, Los Angeles. He is the author of The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture and Beyond Exoticism: Western Music and the World, which is also published by Duke University Press.

    Mark Katz is Associate Professor of Music at the University of North Carolina, Chapel Hill. He is the author of Capturing Sound: How Technology Has Changed Music and Groove Music: The Art and Culture of the Hip-Hop DJ.

    Tony Grajeda is Associate Professor of Cultural Studies in the Department of English at the University of Central Florida. He is an editor of Lowering the Boom: Critical Studies in Film Sound.

Explore More

Sign up for Subject Matters email updates to receive discounts, new book announcements, and more.

Share

Create a reading list or add to an existing list. Sign-in or register now to continue.


Contact Us

  • Duke University Press
  • 905 W. Main St. Ste 18-B
  • Durham, NC 27701
  • U.S. phone (toll-free): 888-651-0122
  • International: 1-919-688-5134
  • orders@dukeupress.edu