An album is a collection of audio recordings issued on a medium such as compact disc (CD), vinyl (record), audio tape, or digital. Albums of recorded sound were developed in the early 20th century as individual 78 rpm recordss (78s) collected in a bound book resembling a photo album; this format evolved after 1948 into single vinyl long-playing (LP) records played at 33+1⁄3 rpm.
Black Dots is a demo album by the American rock band Bad Brains, released in 1996 by Caroline Records. It consists of one of the band's earliest recording sessions, which took place in 1979 at Inner Ear Studios with recording engineer Don Zientara. Black Dots features early versions of several songs that were later recorded for the band's first two studio albums, as well as songs that had never previously been released in any versions. The album showcases the band's hardcore punk origins, as well as their early foray into reggae with the song "The Man Won't Annoy Ya."
Sound recording and reproduction is the electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
Hugh Travers Tracey was an English ethnomusicologist. He and his wife collected and archived music from Southern and Central Africa. From the 1920s through the 1970s, Tracey made over 35,000 recordings of African folk music. He popularized the mbira internationally under the name kalimba.
The Digital Himalaya project was established in December 2000 by Mark Turin, Alan Macfarlane, Sara Shneiderman, and Sarah Harrison. The project's principal goal is to collect and preserve historical multimedia materials relating to the Himalaya, such as photographs, recordings, and journals, and make those resources available over the internet and offline, on external storage media. The project team have digitized older ethnographic collections and data sets that were deteriorating in their analogue formats, so as to protect them from deterioration and make them available and accessible to originating communities in the Himalayan region and a global community of scholars.
The National Film and Sound Archive of Australia (NFSA), known as ScreenSound Australia from 1999 to 2004, is Australia's audiovisual archive, responsible for developing, preserving, maintaining, promoting, and providing access to a national collection of film, television, sound, radio, video games, new media, and related documents and artefacts. The collection ranges from works created in the late nineteenth century when the recorded sound and film industries were in their infancy, to those made in the present day.
The Basement Tapes is the sixteenth album by the American singer-songwriter Bob Dylan and his second with the Band. It was released on June 26, 1975, by Columbia Records. Two-thirds of the album's 24 tracks feature Dylan on lead vocals backed by the Band, and were recorded in 1967, eight years before the album's release, in the lapse between the release of Blonde on Blonde and the subsequent recording and release of John Wesley Harding, during sessions that began at Dylan's house in Woodstock, New York, then moved to the basement of Big Pink. While most of these had appeared on bootleg albums, The Basement Tapes marked their first official release. The remaining eight songs, all previously unavailable, feature the Band without Dylan and were recorded between 1967 and 1975.
Oral history preservation is the field that deals with the care and upkeep of oral history materials, whatever format they may be in. Oral history is a method of historical documentation, using interviews with living survivors of the time being investigated. Oral history often touches on topics scarcely touched on by written documents, and by doing so, fills in the gaps of records that make up early historical documents.
British Library Sounds is a British Library service providing free online access to a diverse range of spoken word, music and environmental sounds from the British Library Sound Archive. Anyone with web access can use the service to search, browse and listen to 50,000 digitised recordings. Playback and download of an additional 22,000 recordings is available to Athens or Shibboleth users in UK higher and further education. The service was originally launched with funding by the Jisc.
Roger Lucey is a South African musician, journalist, filmmaker, actor, and educator. In the late 1970s and early 1980s his early career as a musician was destroyed by Paul Erasmus of the Security Branch of the South African Police, because the lyrics to Lucey's protest songs were considered a threat to the Apartheid State. Although already aware of his anti-apartheid songs, the South African Government's security apparatus only swung into action to destroy Lucey's career after he performed a radical song in a programme on Voice of America radio. The criminal methods used against Lucey formed part of the testimony given by Paul Erasmus in front of the South African Truth and Reconciliation Commission.
David Marks is a South African-born songwriter, singer, producer, music archivist, and publisher who has been a member of the South African music industry since the 1970s. He spent much of his early career mixing, recording, releasing, and archiving a broad cross-spectrum of South African music.
Marie Tapscott Slocombe (1912–1995) founded the BBC Sound Archive in 1936. Her keen interest in audio recordings and folk music have made her legacy important in the history of recorded sound.
The Documentation Centre for Music (DOMUS) forms part of the Special Collections Division of the Music Library within the Stellenbosch University Library and Information Service and is located in the Music Department. Collections acquired through acquisitions, donations or bequests over more than 50 years form the main holdings and are mostly of South African but also of international significance.
Moses Asch was an American recording engineer and record executive. He founded Asch Records, which then changed its name to Folkways Records when the label transitioned from 78 RPM recordings to LP records. Asch ran the Folkways label from 1948 until his death in 1986. Folkways was very influential in bringing folk music into the American cultural mainstream. Some of America's greatest folk songs were originally recorded for Asch, including "This Land Is Your Land" by Woody Guthrie and "Goodnight Irene" by Lead Belly. Asch sold many commercial recordings to Verve Records; after his death, Asch's archive of ethnic recordings was acquired by the Smithsonian Institution, and released as Smithsonian Folkways Records.
Bill Hanley is an American audio engineer and is regarded as the "father of festival sound". He is most widely known as the sound engineer behind the Woodstock festival in Bethel, New York in August 1969. He was also influential in a number of other festivals. According to Michael Lang, "I was trying to find someone who could do a sound system for Woodstock, and there was no one who had ever done something like that before. Then there was this crazy guy in Boston who might want to take a shot at it."
The Indiana University Archives of Traditional Music holds over 100,000 individual audio and video recordings across over 3500 collections of field, broadcast, and commercial recordings. Its holdings are primarily focused on audiovisual recordings relating to research in the academic disciplines of ethnomusicology, folklore, anthropology, linguistics, and various area studies.
Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive is a live album by various artists, packaged as a box set of 38 CDs. It contains nearly all of the performances from the Woodstock music festival, which took place on August 15–18, 1969, in Bethel, New York. The CDs also include many stage announcements and miscellaneous audio material. The box set also contains bonus material such as a Blu-ray copy of the director's cut of the Woodstock documentary film, a hardcover book written by concert promoter Michael Lang, and a replica of the original concert program. It was released by Rhino Records on August 2, 2019, in a limited edition of 1,969 copies.
Stephanus Muller is a South African music scholar and writer who has written about South African twentieth-century composition, exile, archiving, language politics, music and apartheid and university institutional transformation. As the last chairman of the Musicological Society of Southern Africa, he was a founding member of the South African Society for Research in Music (SASRIM) in 2006. He also founded the Documentation Centre for Music (DOMUS) in 2005 at Stellenbosch University, and the Africa Open Institute for Music, Research and Innovation (AOI) at the same university in 2016. He received his BMus (performance) from Pretoria University in 1992, MMus (musicology) from the University of South Africa in 1998, and DPhil from the University of Oxford in 2001. Having studied with the writer Marlene van Niekerk, he also holds a MA in Creative Afrikaans writing from Stellenbosch University (2007).
The Africa Open Institute for Music, Research and Innovation (AOI) at Stellenbosch University is an interdisciplinary research institute dedicated to music studies. Founded in 2016 by the music scholar and writer Stephanus Muller, the institute provides supervision to postgraduate fellows from a variety of disciplines and functions as an independent research hub in the Faculty of Arts and Social Sciences. Its mission is to create an institutional space for scholars and artists that encourages experimentation and risk taking. AOI's community include postgraduate and postdoctoral fellows, extraordinary professors, research associates, composers, performers, sonic residents, archival and heritage practitioners and international partners.
Mhlahleni James "14" Shabalala was a South African Maskandi musician who came from Bergville in KwaZulu-Natal. He was part of the alternative music scene in South Africa. Shabalala was very popular as a result of his live performances at festivals and concerts throughout the country. He performed at the Splashy Fen festivals in the 1990s, and toured with musicians such as Joseph Shabalala and Ladysmith Black Mambazo.
