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193 posts categorized "Recording of the week"

15 October 2018

Recording of the week: Montserrat Volcano Observatory

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This week's selection comes from Emme Ledgerwood, Collaborative Doctoral Award student with the British Library's Oral History department and Leicester University.

“I think great science comes from this natural curiosity”

This recording for #EarthScienceWeek comes from Stephen Sparks, a volcanologist who describes how the Montserrat Volcano Observatory advised the government of Monserrat during the eruption of the island’s volcano in 1995. In this clip he reflects on the relationship between science, policy and decision-making, and the value of curiosity-driven science when providing scientific advice.

Stephen Sparks: the social benefits of volcanography (C1379/89) 

021I-C1379X0089XX-0003A1

This clip is featured on the Voices of Science website. The website draws clips from the National Life Stories Oral History of British Science project which includes over 100 life story interviews with scientists and engineers.

Follow @EmmeLedgerwood , @BL_OralHistory and @soundarchive for all the latest news.

08 October 2018

Recording of the week: from the days of the demo tape

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This week's selection comes from Lucia Cavorsi, Audio Project Cataloguer for Unlocking our Sound Heritage.

When you work in a sound archive it’s not uncommon to find yourself drawn into a listening experience which is both immersive and enriching. For me, one of these moments arrived with a demo tape from the Serious Speakout collection (taken from the name of a London-based  promotion company active during the 1990s).

At the end of the recording I scrutinize the inlay. Who is behind this band? What is their story? I realize that, in a collection of over 700 demo tapes, this is the only all-female band I have come across. I manage to contact one of them on Facebook. After twenty two years they kindly agree to gather together again and recount their past. A Skype call doesn’t feel right. Three weeks later I fly to Bologna to meet them: Daniela Cattivelli, Silvia Fanti, Filomena Forleo, Olivia Bignardi, Flavia D’angelantonio, Margareth Kammerer. Respectively, saxophone, accordion, piano, clarinet, bass, and vocals of ‘Fastilio’.

Fastilio 1Fastilio, soon after forming, rehearsing at the occupied School of Arts, Music and Theatre - University of Bologna. Photo by Nanni Angeli 

Formed in late 1991, the story behind this experimental band is one of genuine curiosity for sound and its potential, playfulness within rigour and commitment, and risk taking. All six were enrolled at the University of Bologna’s School of Arts, Music and Theatre, which was at the time under student occupation. They met when they joined, with little musical knowledge, Laboratorio di Musica e Immagine. This was a fourteen member group with a strong socialising energy, working on collective improvisation and composition to create music for silent films.

After a year and a half they decided to try and rehearse on their own to express themselves more freely, curious to see what type of sound would come from such a diverse group of people, with both different backgrounds and creative ideas. They called themselves ‘Fastilio’ from the Italian ‘Fastidio’, meaning nuisance. Although lacking in experience, their plans were both influenced and inspired by the thriving scene of the time: concerts of experimental music, festivals featuring musicians from the Rock in Opposition movement and the Canterbury Scene, and seminars with composer and improvisor Fred Frith.   

They had been rehearsing for around four months when their first concert opportunity cropped up in February 1992. Their bass player had only picked up her bass for the first time a few months earlier, and yet the festival they were invited to featured musicians like Robert Fripp and Michael Nyman. Fastilio were offered joint billing with experimental violinist Jon Rose on opening night. Amid hesitation and excitement, short in repertoire and training, they eventually accepted. And there they were on stage with Jon Rose who, seeing how nervous they were, made shoulder muscles stretching a part of the performance. This first concert was a breakthrough; it taught them to be brave.

Fastilio 2Flyer First concert. Photo by Francesca Ponzini

Over the next five years of their existence, this band of girls in their mid-20s, committed themselves to sound. Each with different skill levels and musical personalities, Fastilio put into music their wishes of sonority, through reciprocal listening, improvising, experimenting, composing and, essentially, choreographing sound. Fastilio define their music as ‘twisted’, because of the changes in perspectives, the circularity of themes and the odd succession of harmonic and contrasting sounds.

Gradually they found themselves opening concerts for renowned musicians like Steve Coleman, performed in international festivals, jammed in cultural centres throughout Europe, and collaborated with different artists in anarchist houses in the Slavic countryside.  

The following excerpts are from a live gig recorded in Imola, September 1993

Fastilio demo tape excerpts (BL shelfmark C728/117)

Follow @lcavorsi, @BLSoundHeritage and @soundarchive for all the latest news. Many thanks go to the members of Fastilio for their help with this piece.

UOSH_Footer with HLF logo

01 October 2018

Recording of the week: a Tamil lullaby

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This week's selection comes from Christian Poske, AHRC Collaborative PhD candidate and Audio Project Cataloguer for Unlocking our Sound Heritage.

The English musicologist Arthur Henry Fox Strangways recorded this Tamil lullaby with the title Lālishrīta in South India during a recording trip through the Indian subcontinent in 1910-11. An outcome of his research in India was his book The Music of Hindostan (1914) which featured transcriptions and translations of many of the songs he recorded, bringing Indian music closer to European audiences. In the book, he translates the first stanza of the song as: "Baby mine, light of my eyes, here in thy cradle bright with flowers, through sunny hours I bring thee sleep, I rock thee and sing thee to sleep, on the wings of my melodies."

Fox Strangways C72/872, song 2: Lālishrīta

Lullabies transcription (Fox Strangways C72-872)

Fox Strangways also included a photo of the performer, a school teacher from Tanjore.

Schoolmistress  Tanjore (Fox Strangways C72-872)

Professor Martin Clayton (1999: 104-112) reanalysed the song and Fox Strangways’ transcription of it, noticing that the six-beat scheme of the notation did not correspond to the rhythm of the song, which appears to be sung in a free metre. Fox Strangways may have assigned this rhythm to the piece to improve understanding for Western readers familiar with lullabies in 3/4 and 6/8 time. His inclusion in the book of only the English translation of the lyrics may also be attributed to the same reason.

Additional recordings from the Fox Strangways collection are available at https://sounds.bl.uk/World-and-traditional-music/Ethnographic-wax-cylinders

[Footnote: Clayton, Martin (1999). 'A. H. Fox Strangways and the Music of Hindostan: revisiting historical field recordings'. Journal of the Royal Musical Association 124: 86-118.]

Follow @BL_WorldTrad and @soundarchive for all the latest news.

24 September 2018

Recording of the week: Toscanini and Beethoven

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This week's selection comes from Jonathan Summers, Curator of Classical Music Recordings.

Arturo Toscanini was famous for his outbursts of temper on the rostrum and ruled his orchestras with a rod of iron. His style is well suited to heroic music and one of his best interpretations is of Beethoven's Seventh Symphony, heard here with the New York Philharmonic Orchestra in 1936. The dynamism is most evident in the last movement where Toscanini uses driving rhythm to propel the music ever forward.

Symphony no. 7 op. 92 A major

Toscanini_8

To explore more Classical recordings, including over 400 recordings of Beethoven concertos, string quartets and symphonies, please visit British Library Sounds.

Follow @BL_Classical and @soundarchive for all the latest news.

18 September 2018

Recording of the week: Whistling to the bujɔk - Batek fishing techniques

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Coleridge Research Fellow Dr Alice Rudge writes:

The Batek are a hunting and gathering people who dwell in the lowland rainforests of Peninsular Malaysia. When visiting recently, I accompanied Batek friends on a fishing trip and was taught some new techniques.

We left early in the morning, as the river they wanted to get to was a long way from the camp, around three hours walking up and down very steep hills. As we set out, they noticed elephant tracks very close to where we were going, and when we got to the river confluence, ʔEyKtlət went ahead, and found the elephants bathing just upriver from where we had planned to go.  We changed our course and instead of following the main river, we followed one of its smaller tributaries.

DSCF5462Resting and preparing fishing rods after the long walk to the river

Batek people usually make fishing rods (bawɔl) en route to the river by scraping the leaves off palm fronds, leaving only the supple, strong stems. Fishing line and a hook is then attached to one end. For bait, people dig worms from the sides of the riverbank.

With the Batek, fishing trips usually consist of a lot of walking. Having reached the river through the forest, you then wind your way back to the camp via the water, either upstream or downstream, by wading and scrambling up and down the banks. As you walk, you fish in any suitable places that you spot.

DSCF5468Klis and NaʔBɛ̃p walking up a waterfall en route to a new fishing spot.

In one spot that we reached, NaʔSrimjam started whistling. I initially thought nothing of it. Then her sister, NaʔAliw, started whistling the exact same melody… I asked what they were whistling, and they said that they were calling the bĩl fish [unidentified] to them. We had been catching bĩl earlier, and so, knowing that they were biting that day, the sisters were whistling to attract more! They also told me there are other sounds you can do to attract certain fish to you. One of these is a kind of clicking sound made at the back of the throat, which can be used to attract bujɔk (Malay bujuk, of the family Channidae).

NaʔSrimjam evocatively described this process thus:

mɨm ʔajak bujɔk mɨʔ tɔt ʔoʔ haw prmcəm… cɨ̃t! taʔcawɔt kə=mɛt kayil, mɨʔ saŋkɛt

‘when you attract bujɔk you see it coming to get your bait, you see tiny bubbles rising to the surface of the water, then cɨ̃t [expressive of the sudden sound or feeling when a fish bites your bait]! The fish will accidentally hook itself onto your fishing hook, and you lift it out’.

I didn’t manage to record the sound while they were making it in the forest that day. I was busy fishing myself, and trying not to fall over on the slippery rocks or sink into the mud. So, the next day I went to NaʔSrimjam and asked if she would make the sounds again so I could record them.

DSCF5466Sitting down for a moment to fish

She agreed, but when she tried to whistle, the sound wouldn’t come out, and we both cracked up laughing in hysterics. She kept telling me to just do it because she was laughing too much to whistle, but I said no I wanted to record her, because she was the one who knew how to do it - I had no idea! Eventually she managed to get the sound out. I then asked her to do the clicking sound made in the back of the throat that is used to attract the bujɔk fish. After she made the sound, she then tried to teach me to do it. This meant it was my turn to make a fool of myself as I couldn’t make the sound at all. When I eventually got some sound out, we joked that it was so bad that the fish would just swim away. This whole exchange can be heard in the recording.

Sounds used to attract fish (AR_201808_STE-020)

The Alice Rudge Collection of Batek recordings is currently being deposited and catalogued, and will be held under the shelfmark C1773.

Follow @_Aliz_, @BL_WorldTrad and @soundarchive for all the latest news.

10 September 2018

Recording of the week: 'English atheist'

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This week's selection comes from Dr Paul Merchant, Oral History Interviewer.

Nearly twenty years ago, on the 4th of March 1999, an interviewer working for BBC Radio Thames Valley’s contribution to the enormous BBC Millennium Oral History Project – ‘The Century Speaks’ – visited a local school to interview an 11 year-old girl. She was one of the youngest interviewees among a UK ‘sample’ of over 5000. The opening question produced a response which clearly surprised the interviewer:

English atheist (C900/17576)

Interviewer: How would you describe your identity? By that I mean your national identity.

Interviewee: English. English atheist.

Interviewer: Ah. [...] You’ve said atheist very quickly; tell me about that.

Interviewee: Erm, I just like, I didn’t want to be any particular religion but I didn’t want like committing- commit myself into saying I didn’t believe there was anything there, so I decided to be an atheist.

Interviewer: So you…

Interviewee: Because being an atheist means you believe that there’s someone- something around or up there, but you don’t know what it is. And you don’t think it’s really God, but you don’t know.

Interviewer: Oh right, and do you, do you- what do your parents believe?

Interviewee: They’re the same, they’re atheists.

Interviewer: Do you think that you’re an atheist perhaps because they are?

Interviewee: Yeah, just been influenced by them, so...

Interviewer: Yes? Is that it, do you think?

Interviewee: Yeah.

Interviewer: Are any of your brothers believers?

Interviewee: No. They’re all atheists like us.

Interviewer: And do you feel that being an atheist actually is a sort of definition – it really does define you as something; it’s like a religion of a sort?

Interviewee: Yeah. It’s like on its own.

Interviewer: Tell me a bit more about it, how it defines you, being an atheist.

Interviewee: It’s just like: you don’t need to commit yourself into anything; you can just like say you’re an atheist when people ask you what religion you are. And then they don’t ask anymore. So that’s it really. [laughs] [C900/17576, 00:15-2:00]

The clip is engaging not just because the interviewee is charmingly open and positive. It is also because it seems to wake us up from a strange dream in which the only people who talk about atheism are rather senior, male intellectuals of one sort or another. Here, an eleven year-old girl speaks of a form of atheism that:

• is related to religion but not through opposition to it: “you can just like say you’re an atheist when people ask you what religion you are”
• is chosen (“I decided to be an atheist”) but happily acknowledged as the outcome of context – her position in a family of atheists (“yeah, just been influenced by them”)
• is regarded as a substantial position (“its like on its own”) without being claimed as superior to any other
• involves a denial of the existence of ‘God’ (“you don’t think it’s really God”) without in any way placing limits on what existence itself might consist of (“you believe that there’s someone- something around or up there”)

PM recording of the week image The Century Speaks leaflet part cover

The British Library holds all of ‘The Century Speaks’ interviews in a collection called ‘Millennium Memory Bank’ [MMB]. I found the interview with this young “English atheist” as part of a project – a new collaboration with the major Understanding Unbelief project at the University of Kent – exploring the nature of religious ‘unbelief’ in MMB and other oral history collections at the British Library. What will I uncover next?

Follow @BL_OralHistory and @soundarchive for all the latest news.

03 September 2018

Recording of the week: adrift on an ice floe in the Arctic Ocean

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This week's selection comes from Dr Eva del Rey, Curator of Drama and Literature Recordings and Digital Performance.

Sir Wilfred Thomason Grenfell (1865-1940) was a British physician, medical missionary and humanitarian, who worked on the Newfoundland and Labrador coast, Canada for over forty years.

In 1908, on his way to operate on a child, he travelled from St Anthony on Newfoundland's Great Northern Peninsula on a sledge drawn by dogs, and found himself stranded overnight on an ice floe drifting in the Arctic Ocean. He survived this potentially fatal mishap and was rescued the next day.

Grenfell_DrSir Wilfred Grenfell, his sledge dogs and the bronze tablet at St Anthony Hospital he had made to commemorate the dogs that saved his life. (Images from the 1910 edition of Adrift on an Ice-Pan. Shelfmark: 10460.cc.20.)

Grenfell wrote a short book narrating his near-death experience entitled Adrift on an Ice-Pan (1909) which is now in the public domain. It’s an interesting read illustrated with photographs of him and his sledge dogs, which he calls ‘his team’. Regretfully he had to sacrifice three of his beloved dogs to avoid freezing to death that night.

This audio recording of Grenfell himself narrating the incident is a short version of his book. It was issued by the HMV label in May 1911.

Adrift on an Ice Floe in the Arctic Ocean (BL shelfmark 1CL0029069)

Grenfell755rePostage stamp dedicated to Sir Wilfred Grenfell issued on the year of his death. (British Library Universal Postal Union Collection. Photo: Paul Skinner, Lead Curator, Philatelic Collections).

Through his career Wilfred Grenfell campaigned and raised funds for the building of hospitals, orphanages, schools and the improvement of living conditions for Labrador and Newfoundland fishermen and their families. He wrote several books of his travels in the area to promote it to the general public.

His legacy has inspired authors like English travel writer Bruce Chatwin and US novelist Saul Bellow. There was even an Adrift on an Ice Pan comic version published by True Comics in 1941, which you can also read online.

Further reading: Grenfell, Sir Wilfred Thomason by Ronald Rompkey. Dictionary of Canadian Biography

Follow @BL_DramaSound and @soundarchive for all the latest news

27 August 2018

Recording of the week: the young Leonard Bernstein

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This week's selection comes from Jonathan Summers, Curator of Classical Music Recordings.

Leonard Bernstein was born 100 years ago on 25th August 1918. In 1953 the young Bernstein made a series of LPs for the American Decca label. Already with aspirations as a music educator, Bernstein recorded lectures on the works concerned. In the UK the recordings were issued on the Brunswick label and below you can hear Bernstein conducting Brahms Symphony No. 4 in E minor. The whole series of recordings have been re-issued by Deutsche Grammophon in their Original Masters series including the talks (BL shelfmark 1CD0304588).

Symphony No. 4, op. 98, E minor

Leonard_Bernstein_1971

To explore more Classical recordings please visit British Library Sounds.

Follow @BL_Classical and @soundarchive for all the latest news.