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Sound and vision blog

296 posts categorized "Sound and vision"

22 April 2019

Recording of the week: a lesson in bird song duets and trios

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

With hundreds of recordings of birds from around East Africa, Myles E. W. North is a name that constantly crops up within the enormous collection of wildlife species reels here at the library. During his time with the Colonial Administrative Service in Kenya, Myles developed a keen interest in ornithology and, combined with his interest in music, this turned into a passion for recording and studying bird song. He had an excellent ear and was able to transcribe and mimic bird song very accurately. He released two highly praised records: ‘Voices of African Birds’ and ‘More Voices of African Birds’.

In this recording of Tropical Boubous - one of many outtakes from his commercial releases - Myles presents a selection of duets from the birds with announcements in between explaining how the duet works. He accurately whistles the part of each bird, and even uses a recorder (an end blown flute, not his EMI reel-to-reel machine) to demonstrate the lower notes that he cannot whistle.

Tropical BoubousTropical Boubous in Hwange National Park, Zimbabwe (Photo credit: Derek Keats on Visual Hunt / CC BY)

Tropical Boubou duets & trios (BL ref WS2882 C3)

This excerpt features what Myles believes is a trio of boubous all adding their own part to the melody and, without his input, you would be forgiven for believing it was all one bird. Myles’ personality really shines through in this recording, demonstrating his knowledge and experience as he breaks down a complicated ensemble of birdsong with some brilliant mimicry.

Follow @gregegreen, @BLSoundHeritage and @soundarchive for all the latest news.

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15 April 2019

Recording of the week: opening the Tyne Bridge

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This week's selection comes from Steve Cleary, Lead Curator of Literary and Creative Recordings.

This week's Recording of the week - composed of two recordings in fact, an A-side and a B-side - is drawn from the disc issued by the Columbia Gramophone Company to commemorate the opening of the Tyne Bridge.

Side A features the speech given by King George V at the opening ceremony at the Shipley Art Gallery, Gateshead-on-Tyne, 10 October 1928. Side B features an address of welcome to the King, given by W. Swinburne Esq., Town Clerk, County Borough of Gateshead. 

Listen to King George V (1CL0044447 side A)

Listen to W Swinburne (1CL0044447 side B)

Of particular (visual) interest is the etching which occupies a large part of side A, showing the coats of arms of Newcastle and Gateshead and a line illustration of the bridge itself.

Tyne-Bridge-disc-detail

On the 23 August 2018 the bridge's importance as a structure of 'more than special interest' was recognized in its Grade II* listing by Historic England.

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

08 April 2019

Recording of the week: Cello or drum? Meet the ütőgardon

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

Husband and wife Mihaly and Gizella Halmagyi were a duo of professional musicians from Gyimes Valley, in the Romanian stretch of the Eastern Carpathians. Their home town Gyimesközéplok is part of a significant Hungarian-speaking enclave in Romania, and the couple mostly performed old Hungarian folk music at weddings and other social events in their area. Mihaly played a modified fiddle with a fifth string added for extra resonance. Gizella sang and played the ütőgardon, a peculiar instrument that is unique to this area of Europe.

ROTW-Utogardon x 576 wideMihaly and Gizella Halmagyi photographed in their home at the time of recording in 1996. Photocopy of photo by Susanne Kratzer.

At first glance, the ütőgardon (or gardon, as it is more informally called) looks like a slightly misshapen cello. It has four strings, a fretless neck, and even the f-shaped holes typical of the violin family. But this is where the similarities end. The tuning pegs are way too big, the bridge is flat rather than curved, and the four (sometimes three) strings are all tuned to the same note, usually a D, with the fourth and thinnest string tuned an octave higher than the rest. Lastly, but most importantly, there is no bow. Instead, a wooden stick is used to rhythmically hit the strings, a technique more reminiscent of drumming than bowing a cello, while the highest string of the instrument is plucked by the hand not holding the stick. Almost exclusively played as accompaniment to a violin, we could then say that the ütőgardon plays the function of a drum, albeit a drum that looks like a cello and produces a pitched drone.

The photocopied picture above is the only image of the couple held in our archive, and in it you can see Gizella in playing position: stick in the right hand and left hand plucking the fourth string up on the instrument’s neck. According to Gizella, her gardon was about 250 years old.

You can hear Gizella Halmagyi’s ütőgardon in the following recording, made by Susanne Kratzer at Gizella and Mihaly’s place on 20 June 1996. They perform a Csárdás, a Hungarian dance tune that they would normally play at weddings after the groom's party had reached the house of the bride.

Csárdás (C778/13)

This recording belongs to the Susanne Kratzer collection, which has been digitised as part of the British Library's Unlocking our Sound Heritage project. Shelfmark: C778/13.

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01 April 2019

Recording of the week: well sick

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This week's selection comes from Jonnie Robinson, Lead Curator of Spoken English.

The widespread use among young speakers of sick [= 'great, excellent'] follows the pattern of several slang terms in which the conventional meaning is inverted by speakers who subsequently use it as an all-purpose term of approval. The Oxford English Dictionary (OED) records a similar process with wicked from the 1920s and bad from the 1950s onwards, for example.

Taken out of context this can, of course, lead to confusion between the generations as illustrated by a text message I once received from my then 18-year-old daughter. Having just seen one of her favourite bands at Reading Festival she texted: Peace just finished! fifth row! was sick! I chose to interpret this as good news.

Text-message

This positive meaning of sick was one of the most popular submissions to the Library's Evolving English WordBank, a crowd-sourced collection of dialect and slang created by members of the public in 2010/11, as illustrated by these two contributions, and is first recorded in the OED in 1983.

SICK [Manchester C1442/1917]

female (b.1987, Manchester) Sometimes with my friends I say that’s sick meaning that’s extremely good. I’ve got a feeling it comes from sort of Afro-Caribbean influences,  Asian British Asian influences as well, that’s where I seem to hear it the most.

SICK [West Midlands C1442/1332]

male (b. West Midlands) One of the most common phrases I use is sick for something really good it’s extremely common between me and my mates we would say oh how was the gig last night ... oh it was sick.

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

25 March 2019

Recording of the week: Peter Blake remembers the Royal College of Art

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This week's selection comes from Camille Johnston, Oral History Assistant Archivist.

This week we’re travelling back to 1950s London, where a young Peter Blake was learning to draw. Peter Blake is an English Pop artist who famously co-created the cover art for the Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band. In the 1950s he was a student at the Royal College of Art with Frank Auerbach and Leon Kossoff.

339_richard_smith_peter_blake_as_students_photo_robert_buhlerPeter Blake and Richard Smith (right), as Royal College of Art students c. 1956. Robert Buhler, Courtesy Royal College of Art Archive. Image not licensed for reuse

In this clip from his life story interview, Peter Blake conjures up his memories of the busy life drawing room. In the life drawing room you might find artists sitting on 'donkeys' and there would be at least 15 life models – each surrounded by a group of students jostling for space. Some artists took up more space than others, and Blake picks out the artists that one would avoid... As well as capturing the characters of his fellow students, Blake gives a vivid account of his tutors, and of the professional models:

Peter Blake on life drawing classes (C466/168)

In the recording Blake describes his tutors both as ‘vultures’ and ‘sharks’ – who would hover around the many easels and lurch in to rub out the students’ drawings and make corrections. He’s right in saying that this wouldn’t be tolerated by art students now! Despite this, in his next breath he describes how wonderful it all was.

This clip features on the Voices of art website. Voices of art is a new British Library resource that explores the art world from behind the scenes. Extracts from oral history recordings accompany a series of essays by writers immersed in the art world of the 20th and 21st centuries. To hear Peter Blake’s clip in context, see Tom Powell’s article 'Why can't you draw the model like that?' Remembering the life room through Artists' Lives and Lisa Tickner’s article Playing it by ear: Kasmin in the 1960s.

Peter Blake was recorded by National Life Stories for Artists’ Lives in sessions between 2003-2005. The interviewer was Linda Sandino. Listen to the full interview on BL Sounds.

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

20 March 2019

“The Acorn System One can be used to control a 22nd Century intergalactic spaceship”

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It's been 40 years since the release of the Acorn System 1. One of the earliest British personal computers, it was not much to look at, just a circuit board studded with electronic components, a keypad, and a digital display. Largely developed by Sophie Wilson, with contributions from Steve Furber, the System 1 was typically sold as £65 kit that had to be soldered together by the buyer themselves. The little machine couldn't do very much, but gave electronic enthusiasts the chance to play around with a personal computer of their own, a concept that was little more than science fiction a few years previously. Before the 1970s computers were large and expensive machines, electronic brains for scientists, number crunchers for corporations or Big Brother. It was thanks to affordable machines like the System 1 that computing began to come to the masses.

021I-C1379X0078XX-0001A0Steve Furber at work around the time of the BBC Micro development in the early 1980s
Photo courtesy of Chris Turner

Fittingly enough for such a futuristic idea, the System 1 would itself feature in science fiction a few years later, with an appearance as a spaceship's computer in the BBC television series Blake's 7. This was somewhat to the surprise of its developers at Acorn, as Steve Furber recalled in an interview for An Oral History of British Science.

Steve Furber on Blake's 7 and the Acorn System 1 (C1379/78)

After the System 1, Acorn's designers, led by Wilson and Furber, went on to develop a series of popular personal computers, including the Acorn BBC Micro, which introduced millions of school children to computing for the first time. In the mid 1980s they also developed the first ARM chips, a revolutionary family of computer processors. There have been over a hundred billion ARM chips manufactured since and this distant, but direct descendant of the System 1 can be found inside electronic devices the world over; there's probably one inside your smartphone. However, as Furber recalled, back in 1979 “I don’t think anybody really saw the consumer boom and the sort of computer in every house scenario.”

Steve Furber on the future of computing in 1979 (C1379/78)

This blog is by Tom Lean, National Life Stories Project Interviewer and the author of a book on the history of British home computing. Tom interviewed Steve Furber for An Oral History of British Science (reference C1379/78) in 2012 and he is featured on the Voices of Science website.

18 March 2019

Recording of the week: Will Montgomery - Submarine

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

Camberwell Submarine_ Eva del Rey

You may have seen this extraordinary ventilation shaft known as the Camberwell Submarine on Akerman Rd. London SW9.

It was built in the 1970s as part of an underground boiler room and heating system for Myatt’s Field estates. It is regarded as one of a kind due to its dimensions and design. See urban 75 for more images.

The boiler room and heating system is no longer in use. The room is closed but there is a memento of its sound kept forever in the archives.

‘Let us cross a large modern capital with our ears more sensitive than our eyes’ wrote futurist maverick Luigi Russolo in The Art of Noises (1913).

Artist Will Montgomery made recordings of the machinery of the boiler room in action. He assembled them into a short piece and published it on Touch Radio website, 8th November 2008. He called it ‘Submarine’.

Touch Radio 036: Will Montgomery - Submarine

I went on location on a Friday afternoon last February and strolled along the site listening to Montgomery’s composition on my phone. White noise, a harmony of hissing sounds exhaling through the boiler's steel valves. It felt both eerie and calming as if the Camberwell Submarine had gradually come back to life.

Follow @BL_DramaSound and @soundarchive for all the latest news. Visit British Library Sounds to listen to more pieces from Touch Radio.

08 March 2019

International Women's Day: Oral History highlights

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To celebrate International Women’s Day, three colleagues from the British Library Sound Archive have handpicked three oral history interviews from National Life Stories collections.

Architect Angela Brady

“The women have got to be better than the men to survive in architecture.”

Angela Brady interviewed by Niamh Dillon C467/107 Track 5

This interview was selected for International Women’s Day by Niamh Dillon, who interviewed Angela Brady from 2013-2014 for the National Life Stories project, Architects’ Lives. Niamh reflects on Angela Brady’s career:

Angela Brady was born in Dublin in 1957 and trained as an architect at Bolton Institute of Technology. During her studies, she had her first encounter with the gendered attitudes within the profession. As a response, she determined to ‘work bloody hard’, successfully qualifying as an architect. During her early career she spent periods in Denmark working on housing and moved to London, working for large practices before setting up her own practice, Brady Mallalieu. She campaigned and won election as President of the Royal Institute of British Architects campaigning on a platform to increase diversity within the profession. She was only the second woman to achieve the position and presided over the organisation during the 2012 Olympics. In 2017 she was awarded an OBE for services to architecture.

Angela Brady's interview is listed on the Sound and Moving Image catalogue (reference C467/107). For more information about Architects' Lives see the NLS project page.

Artist Sheila Girling

“…trying to fit two lives. It’s a great strain on women I think really, to have to cope. Because children are not just things you can put down and put away.”

543_sheila_girling_with_tony_caro_portrait047 - small
Sheila Girling with Anthony Caro. Courtesy Barford Sculptures Limited. Image not licensed for reuse.

This interview was selected for International Women’s Day by Hester Westley, who interviewed Sheila Girling in 2009 for the National Life Stories project, Artists’ Lives. Hester describes Sheila Girling’s approach to her artistic practice and family life:

Sheila Girling’s life story addresses the challenges which restricted women artists before the days of equality movements and general awareness of gender inequality. Girling trained as an artist at the Royal Academy Schools at a time when women students were expected to treat such training, the same as any male student’s, not as a step towards a profession but more like a finishing school. Following her marriage to the famous abstract sculptor Sir Anthony Caro, Girling put her own practice as a painter on hold, raising their two sons before returning to her studio practice in later life. In this recording she discusses with frankness and compassion the difficult choices she made as she sacrificed her own needs for the needs of others; without bitterness, her candid discussion of what it means to be a woman artist will speak to generations of women as they navigate marriage, motherhood and a professional life.

In this clip, Sheila Girling discusses how she balanced her artistic career, family life, and the career of her husband, Anthony Caro:

Sheila Girling interviewed by Hester Westley C466/296

Sheila Girling features on the new British Library website Voices of art. To read more about Girling’s life and work, see Hester Westley’s essay Coaching from the side lines: Sheila Girling and Anthony Caro. Read a written summary of Sheila Girling’s interview on the Sound and Moving Image catalogue (reference C466/296).

Doctor Una Kroll

“...we’re partners and we should be equal and we should be contributing equally.”

This interview was selected for International Women’s Day by Lucia Cavorsi, Audio Project Cataloguer for Unlocking our Sound Heritage who has enhanced the catalogue records for Una Kroll’s interview. Una Kroll was interviewed by Rebecca Abrams in 1991 for National Life Stories. Lucia shares her experiences of listening to the interview and learning about Una Kroll’s life and work:

Getting closer to women coming from completely different paths of life is nowadays not only edifying, but crucial for women’s rights. That’s what happened to me when I worked with this collection item. I got captured by the words of Una Kroll; by her vision of the world; by her incorruptible idealism. A doctor, a feminist, a deaconess (at the time of the interview), an activist, a mother, Una Kroll channelled her anger for social injustice towards service and fight. As a doctor, she set up the first local services for cervical screening and breast analysis at her St. Paul’s Cray practice. As an activist she campaigned relentlessly and cleverly for the ordination of women. As a deaconess and profoundly religious person she challenged the patronising attitude of a male dominated Church.

As a feminist she didn’t conform to given rules and started wondering why women had handed so much power to men; why rules were made by men to hold up women. As a mother she was concerned to see justice and harmony for people who were oppressed, so to offer a fairer world to her daughter. As a woman, she wanted to show how good it was to be a woman; how women’s role in society is to explore better ways to live in harmony, without anyone undergoing segregation. She taught me that opposition to men is a necessary phase both for our political struggles and our growth as women, but it’s just a phase. That what we all need to aim for, is to truly recognise the equal nature of all human beings. To appreciate and understand the inherent dual nature, feminine and masculine, of God. Whatever this is.

To listen to Una Kroll speaking about the stuggle for the ordination of women, head to the Sisterhood and after website. Una Kroll’s interview has very recently been digitised by Unlocking our Sound Heritage. It can currently be accessed at the British Library through the Listening and Viewing Service and will be available more widely soon. Read a written summary of Una Kroll’s interview on the Sound and Moving Image catalogue (reference C464/10).