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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 In the unpublished "Bird Songs on Historic Records" 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
>
>