Phonograph cylinders are the earliest commercial medium for recording and reproducing sound. Commonly known simply as "records" in their heyday, a name which has been passed on to their disc-shaped successor, these hollow cylindrical objects have an audio recording engraved on the outside surface which can be reproduced when they are played on a mechanical cylinder phonograph. The first cylinders were wrapped with tin foil but the improved version made of wax was created a decade later, after which they were commercialized. In the 1910s, the competing disc record system triumphed in the marketplace to become the dominant commercial audio medium.
Events in the year 1891 in music.
Events in the year 1889 in music.
The Kinetoscope is an early motion picture exhibition device, designed for films to be viewed by one person at a time through a peephole viewer window. The Kinetoscope was not a movie projector, but it introduced the basic approach that would become the standard for all cinematic projection before the advent of video: it created the illusion of movement by conveying a strip of perforated film bearing sequential images over a light source with a high-speed shutter. First described in conceptual terms by U.S. inventor Thomas Edison in 1888, it was largely developed by his employee William Kennedy Laurie Dickson between 1889 and 1892. Dickson and his team at the Edison lab in New Jersey also devised the Kinetograph, an innovative motion picture camera with rapid intermittent, or stop-and-go, film movement, to photograph movies for in-house experiments and, eventually, commercial Kinetoscope presentations.
Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important and successful company in the early recording industry.
George Washington Johnson was an American singer and pioneer sound recording artist. Johnson was the first African American recording star of the phonograph. His most popular songs were "The Whistling Coon" and "The Laughing Song".
The Black Maria was Thomas Edison's film production studio in West Orange, New Jersey. It was the world's first film studio.
George J. Gaskin was a Northern Irish-born American recording artist, being one of the most popular singers in the United States during the 1890s.
Russell Dinsmore Hunting was an American comic entertainer, pioneer sound recordist, and an influential figure in the early years of the recorded music industry. He was described as "the most popular pre-1900 recording artist".
Daniel William Quinn was an American tenor. He was one of the first American singers to become popular in the new medium of recorded music. Quinn was a very successful recording artist whose career spanned from 1892 to 1918. Quinn recorded many of his hits in the legendary Tin Pan Alley of New York City.
"The High School Cadets" is a march written in 1890 by John Philip Sousa in honor of the cadet drill team of Washington High School in the District of Columbia. It is in regimental march form (I-AA-BB-CC-DD) and is a popular selection for school concert and marching bands, as well as for professional orchestras and bands. The march has been arranged for a wide variety of instruments and ensembles, and has been frequently recorded, including at least two recorded performances by Sousa's own band. The march's final strains were featured in the 1939 film The Under-Pup.
Archeophone Records is a record company and label founded in 1998 to document the early days of America's recording history. It was started by Richard Martin and Meagan Hennessey, a husband and wife who run the company in Champaign, Illinois. Archeophone restores and remasters audio from cylinders and discs of jazz, popular music, vaudeville, and spoken word recordings.
John W. Myers, who was usually credited as J. W. Myers, was an American baritone singer, who recorded widely in the United States between the early 1890s and early 1917. His recordings, including "Two Little Girls in Blue" (1893), "The Sidewalks of New York" (1895), "Just Tell Them That You Saw Me" (1895), "When You Were Sweet Sixteen" (1901), "On a Sunday Afternoon" (1902), "Way Down In Old Indiana" (1902), and "In the Good Old Summer Time" (1902), were among the most popular of the period.
Walter Bowman Rogers was an American cornet player, concert band and orchestral conductor and composer, who was responsible for most of the orchestral arrangements on recordings made for the Victor Talking Machine Company between 1904 and 1916. He left the Victor Company when he accepted an equity partnership with the Paroquette recording company, a venture which ended when the company went into receivership. He accepted arranging, conducting positions with the Paramount and Emerson companies before he was offered an executive-level position by the Brunswick-Balke-Collander Company when the nationally known manufacturer of bowling, saloon, and phonograph cabinetry decided to expand its operations in the talking-machine industry by creating a line of phonograph recordings. Rogers became Brunswick’s director of classical-music releases, a role he held until shortly before the Brunswick phonograph division was acquired by the Warner Brothers film corporation in April 1930.
The North American Phonograph Company was an early attempt to commercialize the maturing technologies of sound recording in the late 1880s and early 1890s. Though the company was largely unsuccessful in its goals due to legal, technical and financial problems, it set the stage for the modern recording industry in the mid 1890s.
Edward Denison Easton was the founder and president of the Columbia Phonograph Company. Under Easton's leadership, Columbia developed from one of many regional subsidiaries of the North American Phonograph Company, which, along with Edison Records and Victor Talking Machine Co., was one of the nation's three largest record companies of the early 20th century.
The United States Phonograph Company was a manufacturer of cylinder phonograph records and supplies in the 1890s. It was formed in the Spring of 1893 by Victor Emerson, manager of the New Jersey Phonograph Company. Simon S. Ott and George E. Tewkesbury, heads of the Kansas Phonograph Company and inventors of an automatic phonograph joined later. It was based in Newark, New Jersey. After the collapse of the North American Phonograph Company in August 1894, the United States Phonograph Company became one of the industry's largest suppliers of records, competing mostly with the Columbia Phonograph Company who had joined with the American Graphophone Company to manufacture graphophones, blank wax cylinders, and original and duplicate records. The USPC manufactured duplicates as well, which allowed their recording program to reach the scale of competing with Columbia's. Their central location and proximity to New York allowed them to record the most popular artists of the 1890s, including George J. Gaskin, Dan W. Quinn, Len Spencer, Russell Hunting and Issler's Orchestra. Emerson left the company to lead Columbia's recording department around the summer of 1896. In 1897 the USPC worked with Edison's National Phonograph Company to retrofit phonographs with spring motors invented by Frank Capps. The convenience and cost savings of spring-motor phonographs like these helped shift the phonograph from a public entertainment to a consumer good. In October 1899 the company was prohibited by court order from manufacturing duplicate records, and they began supplying original records for the National Phonograph Company[7][6][6][5][5]. The later U.S. Phonograph Company of Cleveland Ohio is unrelated.
Estella Louise Mann was an American singer, recording artist, and record executive active in New York in the 1890s. She was one of the first women to make a living as a recording artist, and the first woman to run a record company.
Frank P. Banta was an American pianist and recording artist active in the 1890s and 1900s.
Edward Abraham Lefebre was a virtuosic saxophonist in the late nineteenth century, best known for his work with Patrick Gilmore, John Philip Sousa, C. G. Conn, and the New York Saxophone Quartette Club. His frequent international performances and continued advocacy of the saxophone led to his nickname of "Saxophone King”.
