The Spatial Dimension as an Expressive and Structuring Element in Phonograms from the 1950s
Visualizações: 2DOI:
https://doi.org/10.33871/vortex.2024.12.9084Keywords:
Spatial dimension, Sound field, Phonogram analysis, Spatiality, Music ProductionAbstract
The spatial dimension of recorded music refers both to the interaction between sounds and the environment they were captured in, and to the arrangement of recorded elements in a sound field. With the aim of emphasizing the importance of the spatial dimension for understanding music production when mediated by recording technologies, this paper sheds light on some of the technical and artistic procedures used to shape the sound field, while at the same time proposing a comparative analysis between two examples of phonograms whose producers – when seeking alternatives for manipulating the spatial dimension – broke with the hi-fi aesthetic in the early 1950s: Good Morning Mr. Echo (1951), by Bill and Belinda Putnam, performed by Jane Turzy, and “Bom dia Mister Eco” (1952), a Brazilian version of the same work, performed by Trio Madrigal.
Downloads
References
BLAKELY, Larry. UA Heritage: an interview with Bill Putnam. UA Webzine, v. 5, n. 11, dez., 2007. Disponível em: <https://www.uaudio.com/webzine/2007/december/index6.html>. Acesso em: 01 abr. 2023.
BLESSER, Barry; SALTER, Linda-Ruth. Spaces speak, are you listening? experiencing aural architecture. Massachusetts Institute of technology, 2007.
BURGESS, Richard. J. The history of music production. NY: Oxford University Press, 2014.
CARDOSO FILHO, Marcos E. Memórias, discos e outras notas: uma história das práticas musicais na era elétrica (1927–1971). Tese de Doutorado. Programa de Pós-Graduação de História da Faculdade de Filosofia e Ciências Humanas da Universidade Federal de Minas Gerais, 2013.
CHION, Michel. Músicas, media e tecnologias. (Trad. Armando P. da Silva). Lisboa: Instituto Piaget, 1997.
COGAN, Jim. Bill Putnam. Mix Online, nov. 2003. Disponível em: <https://www.mixonline.com/recording/bill-putnam-365354>. Acesso em: 26 mar. 2023.
COOK, Nicholas. Methods for analyzing recordings. In: COOK, Nicholas, CLARKE, Eric, LEECH-WILKINSON, Daniel, RINK, John. The Cambridge Companion to
Recorded music. NY: Cambridge University Press, 2009. p. 221-245.
CORREIA, Orlando. Sistema Nervoso. RJ: Gravadora Todamérica, 1953. Disco TA 5.325.
DELALANDE, François. The technological era of sound’: A challenge for musicology and a new range of social practices. Organised Sound, v. 3, n. 12, p. 251-258, 2007. DOI: 10.1017/S1355771807001926
DIDIER, Aloisio. Radamés Gnattali. RJ: Editora Brasiliana, 1996.
DOYLE, Peter. Echo & reverb: fabricating space in popular music recording, 1900-1960. Middletown: Wesleyan University Press, 2005.
FRITH, Simon; ZAGORSKI-THOMAS, S. The art of record production: an introductory reader for a new academic field. 2. ed. NY: Routledge, 2016.
GUIGUE, Didier. Estética da sonoridade: teoria e prática de um método analítico - uma introdução. Revista Claves, n.4, p. 37-65, nov. 2007.
HARMONICATS DE JERRY MURAD. Peg o’ my heart. Vitacoustic Records, 1947. Disco. Disponível em: < https://www.youtube.com/watch?v=9BIuX7IsdE8>. Acesso em: 23 mar. 2023.
KATZ, Mark. Capturing sound: How technology has changed music. Berkeley: University of CA Press, 2004.
LEVITIN, Daniel J. This is your brain on music: the science of a human obsession. Dutton, 2006.
MARCONDES, Marcos A (Ed.) Enciclopédia da música brasileira. São Paulo: Art Editora Ltda, 2003.
MORTON JR., David L. Sound Recording: the story of a technology. Baltimore: Johns Hopkins. University Press, 2006.
MOYLAN, William. Considering space in recorded music. In: ZAGORSKI-THOMAS, Simon; ISAKOFF, Katia; LACASSE, Serge Lacasse; STÉVANCE, Sophie Stévance (Eds.) The art of record production: an introductory reader for a new academic field. NY: Routledge, 2016. p. 163-188.
MOYLAN, Willian. The art of Recording: understand and crafting the mix. USA: Focal Press, 2002.
PASSOS, Claribalte. Honra ao mérito. RJ: Carioca, n. 877, 1952. p. 62. Disponível em: <http://memoria.bn.gov.br/DocReader/830259/54282>. Acesso em: 01 jun. 2023.
ROSA, Gilberto Assis. A dinâmica da produção musical em estúdio: affordances e propriedades emergentes do processo. Tese de Doutorado, UNICAMP, 2021. Campinas, 2021. 191p.
SEVERIANO, Jairo. Braguinha: yes, nós temos Braguinha. (2 Ed.) RJ: FUNARTE, 1997.
TEIXEIRA, Márcio. Áudio no Brasil: Norival Reis. RJ: Áudio, Música e Tecnologia, n. 268, jan. 2014. Disponível em: < http://www.musitec.com.br/revistas/?c=4500>. Acesso em: 20 abr. 2023.
TRIO MADRIGAL. Bom dia Mister Eco. RJ: Continental, 1952. Disco 78 rpm. Disponível em: < https://www.youtube.com/watch?v=5gIMvQWZ1JM >. Acesso em: 22 abr. 2023.
TRIO MADRIGAL. Dicionário Cravo Albin da música Popular brasileira. Instituto Cultural Cravo Albin, 2021. Disponível em: <https://dicionariompb.com.br/grupo/trio-madrigal/>. Acesso em: 02 mai. 2023.
TURZY, Jane; BIONDE, Remo. Good Morning Mr. Echo. Londres: Decca Records. 1951. Disco 45 rpm. Disponível em:
.youtube.com/watch?v=Z6hkgR2Pk5U>. Acesso em: 22 abr. 2023.
WARNER, Timothy. Pop music, technology and creativity: Trevor Horn and the digital revolution. UK: Ashgate Publishing Company, 2003.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Gilberto Assis Rosa
This work is licensed under a Creative Commons Attribution 4.0 International License.
Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
