Thesis (M.S.)--Kutztown University of Pennsylvania, 1998. / Source: Masters Abstracts International, Volume: 45-06, page: 2886. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 216-222).

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Thesis (M.S.)--Kutztown University of Pennsylvania, 1996. / Source: Masters Abstracts International, Volume: 45-06, page: 2721. Typescript. Includes bibliographical references (leaves 33-35).

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Title: Approximants in a perception and production of Czech students Abstract: This work investigates the characteristics of three French approximants [j] - [] - [w]. First, they are analysed by historical, articulatory, and accoustic points of view. There is a brief summary of the problems and development of the terminology. We compare their appearance in French with their appearance in Czech. In the experimental part, there are studies of perception and of production by Czech students. We use an analysis of forms and of recordings in which we identify specific mistakes. Then, we look for the reasons for these mistakes in order to propose some solutions and ways to prevent them and, eventual-ly, check them. This thesis set up a compact system of activities and methods in receptive appropriation and active appropriation.

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This dissertation examines the impact of electronic sound technology on theories and practices of listening in Paris since 1945. It focusses on experimental work, carried out by musicians and medical professionals and designed with the express purpose of transforming the minds, bodies, and experiences of listening subjects in order to produce “experimental listeners.” Why did the senses become a target of manipulation at this particular moment, and how was technology used and abused for these ends? What kinds of changes to human beings, permanent or otherwise, was sound technology imagined to produce? And on what grounds were such experimental activities legitimized? To answer these questions in high definition, the story follows two main protagonists: otolaryngologist Alfred Tomatis and composer Pierre Schaeffer. Chapter 1 provides a launch pad into the world of Tomatis’s unconventional listening therapy by focusing on the invention in 1953 of the Electronic Ear, a device that could be described as an experiment in sensory prosthetics. Chapter 2 looks at Schaeffer’s experimental research into listening—through his “sound objects”—where his ultimate goal was to establish an entirely new musical culture based upon a new sensibility of sound awoken by the novel sound technologies of his day. The third chapter dissects Tomatis’s unlikely “postmortem” analysis of Enrico Caruso’s ears. Under the microscope in Chapter 4 is Schaeffer’s practical relationship with his public and his theoretical understanding of the mass media. Combining musicology with the history of the senses, science studies, and sound studies, and drawing on archival research, I excavate the material and epistemological resources mobilized by these experimenters to make malleable the sense of sound: not only resources broadly understood as “scientific” (mainstream medicine, cybernetics, information theory, acoustics) but also those often considered less so (psychoanalysis, alternative medicine, mysticism, and a panoply of spiritual beliefs). The project scrutinizes attempts to transform lived experience using electronic sound production technology; more broadly, it explores the meaning of the technological itself and its capacity to contain strange hybrid machines caught between fact and fiction, science and magic, human and non-human, matter and spirit, and certainty and wonder.

Vast numbers of historical field recordings are currently being digitised and disseminated online; but what are these field recordings-and how do they resonate today? This thesis addresses these questions by listening to the digitisation of recordings made for a number of ethnographic projects that took place in Britain in the early 1950s. Each project shared a set of logics and practices I call national phonography. Recording technologies were invested with the ability to sound and salvage the nation, but this first involved deciding what the nation was, and what it was supposed to sound like. National phonography was an institutional and technological network; behind the encounter between recordist and recorded lies a complex and variegated mess of cultural politics, microphones, mediality, sonic aesthetics, energy policies, commercial interests, and music formats. The thesis is structured around a series of historical case studies. The first study traces the emergence of Britain's field recording moment, connecting it to the waning of empire, and focusing on sonic aspects of the 1951 Festival of Britain and the recording policies of national and international folk music organisations. The second study listens to the founding of a sound archive at the University of Edinburgh, also in 1951, asking how sound was used in constructing Scotland as an object of study, stockpiling the nation through the technologies and ideologies of preservation. The third study tracks how the BBC used fieldwork - particularly through its Folk Music and Dialect Recording Scheme (1952-57) - as part of an effort to secure the aural border. The fourth study tells the story of The Columbia World Library of Folk and Primitive Music, produced by Alan Lomax while based in Britain and released in 1955. Here, recordings were presented in fragments as nations were written onto long-playing records, and the project is discussed as a museum of voice. The final chapter shifts perspective to the online circulation of these field recordings. It asks what an online sound archive is, hearing how recordings compress multiple agencies which continue to unfold on playback, and exploring the archival silences built into sonic productions of nations. Finally, online archives are considered as heritage sites, raising questions about whose nation is produced by national phonography. This thesis brings together perspectives from sound studies and ethnomusicology; and contributes to conversations on the history of ethnomusicology in Europe, the politics of technology, ontologies of sound archives, and theories of recorded sound and musical nationalisms.

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