I can't control this. My mail does not look like that when I send it. I am skipping two lines in between each sentence. Roger > Date: Wed, 18 Jun 2014 21:28:09 -0400> From: [log in to unmask]> Subject: Re: [ARSCLIST] Phonobomb examples? [specifically Respighi]> To: [log in to unmask]> > Hi Roger:> > Please fix your e-mail device, program or provider so it doesn't present unreadable mish-mash to > this list (see below).> > Regarding extinct birds, yes. There is a recording, made on optical film, by researchers from > Cornell, of the "Lord God Bird," the Ivory-billed Woodpecker. This bird was alleged not to have gone > extinct based on a few-frame video a few years ago, but no credible evidence has been presented > since then of the bird's existence. This is despite years of planting sound and video recorders > around the swamps where the few-frame video was shot, and searching other areas. Most reasonable > people would conclude, based upon what's been made public, that the bird is extinct.> > There may well be other examples of now-extinct animals being recorded before they went extinct. In > fact, the sounds of now-extinct creatures may well lurk in the background of outdoor ambient > recordings made around the world, for instance location sound for pictures.> > -- Tom Fine> > ----- Original Message ----- > From: "Roger Kulp" <[log in to unmask]>> To: <[log in to unmask]>> Sent: Wednesday, June 18, 2014 8:29 PM> Subject: Re: [ARSCLIST] Phonobomb examples? [specifically Respighi]> > > > Have there been any birds recorded that have since become extinct? The bit about if it was the > > 1913 or 1910 recording preferred by Respighi is one of the most interesting questions I ever > > heard.  Roger > Date: Wed, 18 Jun 2014 19:19:01 -0400> From: [log in to unmask]> Subject: Re: > > [ARSCLIST] Phonobomb examples? [specifically Respighi]> To: [log in to unmask]> > Also, > > although Respighi lived well into the era of electrical recording and reproduction, he insisted > > that a specific recording of nightingales, (its number noted in the score), be played on an > > acoustic gramophone in the percussion section. I would love to hear it performed in this manner, > > it would sound quite haunting, but in spite of the fact that there are so many authentic > > performance enthusiasts around these days, it's never done.  > > db> > Sent from my iPhone> > > On > > Jun 18, 2014, at 5:56 PM, George Brock-Nannestad <[log in to unmask]> wrote:> > > > From: Patent > > Tactics, George Brock-Nannestad> > > > > > In the unpublished "Bird Songs on Historic Records" > > discography > > the following information is given:> > > > > > All the nightingale records were > > originally issued single-sided. Regarding > > the coupling discussed, the 1910 recording was made > > 3 May 1910. The 1913 > > recording was recorded during the week ending 24 May 1913. The Victor > > 64161 > > (Red Seal) is neither of these two recordings.> > > > Among the double-sided versions, > > R. 6105 was from Italy; the UK market had > > B. 390. > > > > "The British HMV company transferred > > B. 390 to its "Number 2 Catalogue" of > > records of unique and historical interest in 1929. This > > was because the > > composer Respighi required a gramophone record of Nightingale song to be > > > > played during a movement of his orchestral work "The Pines of Rome", composed > > in 1925. > > Actually, the score requests the record by its Italian number > > (R.6105), and does not say > > whether the 1910 recording or the 1913 one is > > preferred. B. 390 remained in the "Number 2 > > Catalogue" until its deletion in > > 1942; there, both sides were given the date "1910"."> > > > > > Personally, I find the term "phonobomb" absolutely silly, reminding me of a > > sort of Italian > > ice cream, and although nobody will care I shall refrain from > > using it to describe the > > phenomenon alluded to. But given enough publicity, > > no doubt it will catch on and end up on the > > Library of Congress Recording > > Registry.> > > > Kind regards,> > > > > > George> > > > >  > ------------------------------------> >> > >> It also came on Victor and was redone > > electrically.  > >> > >> I seem to recall that the parts for Pines of Rome were rental only and> > >  >> when> >> your packet arrived, a copy of the 78 was packed with it.  I don't know if> >> the > > later, electrical one arrived in your packet after 1925 or whenever it> >> was remade.  I kinda > > think the acoustical one was used for a while> >> afterwards.  Maybe someone at the Fleisher > > Orchestra Music Collection at> >> the> >> Free Library of Philadekphia would know.> >> > >> Of > > couse, this implied that the performing orchestra would have a> >> phonograph> >> available, and a > > model with sufficient volume to be heard in  the back of> >> the balcony.  This was not a sure > > thing.  Some members of some> >> professional> >> orchestra boards of the time opposed the whole > > idea of recording, just as> >> they did when broadcasting came along- cheapened the merchandise > > or, in> >> this> >> case, cheepened it. > >> > >> Steve Smolian> >> > >> -----Original > > Message-----> >> From: Association for Recorded Sound Discussion List> >> > > [mailto:[log in to unmask]] On Behalf Of Don Cox> >> Sent: Wednesday, June 18, 2014 3:38 > > PM> >> To: [log in to unmask]> >> Subject: Re: [ARSCLIST] Phonobomb examples? [specifically > > Respighi]> >> > >>> On 18/06/2014, Williams, Tim wrote:> >>> > >>> For Don and any others curious > > about whose nightingale recording > >>> Respighi used for Pines of Rome...> >>> > >>> A couple > > years ago, we had a library patron who does orchestra program > >>> notes who also wondered this.> > >  >>> > >>> The short answer> >> >