The purpose of this study is to consider the playback as a consumer educational material, and to test its usefulness in transmitting and securing acceptance of consumer information when presented to selected groups of individuals. Another purpose of the study is to make a contribution to the sum total of results obtained by the Institute for Consumer Education in its experimentation with the playback.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 175-188). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 175-188). Also available on the Internet.

Commercial recordings - CDs, LPs - are familiar objects. However, discussion about them has often attempted to conceal the fact that, as communicating objects, recordings pose special problems due to the fact that they unite text, image, and sound in a material commodity. This thesis examines the role of the visual in the production, circulation and use of recordings. The album cover is the primary category of study, with an emphasis on its functioning in relation to the recording as a sonic and material commodity. The label ECM, a German company which has been producing recordings since 1969, provides the main focus in this analysis. The basis of this investigation lies in the questioning of the assumptions and categories that have historically guided the activity of cover design and the discourse about it. Traditionally, recordings have been understandably seen primarily as sound-carriers; their visual aspects, even when celebrated, are most often relegated to a peripheral status, despite the fact that in certain contexts the importance of the visual can overwhelm that of sound. The usual hierarchical opposition between these elements is here questioned through an examination of both the marketing of recordings and their circulation and use. ECM provides a pertinent case through which such questions can be elaborated. Its visual marketing strategies can be characterised in terms of a desire for difference. ECM's attempt to set itself apart has resulted in a "look" which rejects many conventions. It has also resulted in a complex, conceptual group of visual strategies. In its particular use of landscape photography, blank space, and gestural markings, ECM constructs ideas of space which relate to the potential for performativity and creativity. Through the combination of these strategies, the label deemphasises creative personality of the musical performer and emphasises the space occupied by the looker/listener. In doing this, it also questions the traditional boundaries between music and the visual. ECM's covers cause these categories to become indistinct and allow new conceptions of the recording as a material commodity to emerge. One effect of this is a construction of the apprehender's subjectivity that fails to fit within the marketplace's traditional categories. The thesis considers how the visual has been implicated in more concrete processes such as the negotiation of taste and practices of consumption and use. The niche that ECM attempts to carve out for itself is considered in relation to the tension in the marketplace between the desire for distinction and the recording as a massproduced commodity.

The process of remastering old recordings comprises two basic stages: the transfer of the material from the source to a modern format, and the subsequent restoration of the transferred material through various forms of signal processing. The transfer stage in particular requires an understanding of issues which are becoming increasingly less familiar to engineers as the science of recording progresses further into the digital era. To a lesser extent, the restoration stage involves the use of certain techniques and forms of processing which are specific to this application. / This thesis is intended as a reference for those recording engineers who occasionally undertake remastering projects, but who are not thoroughly acquainted with the many different situations and problems which can be involved. Emphasis is given to those areas which are likely to be least familiar to most engineers. / In order to enable the engineer to properly assess a given source, the evolution and characteristics of each type of source--cylinder, disc and tape--is surveyed. This is followed in each case by an examination of the preparation, equipment and method used in transferring the source. Finally, the various types of processing which can be applied to the transferred material are presented, focusing on the techniques and forms of signal processing which are specific to audio restoration.

The objective of this thesis is to demonstrate, through analysis of the current Canadian Copyright Act and related cases, how the rapid development of Internet technology has challenged the legal protection of musical works under Canadian copyright legislation and jurisprudence. Canadian government and courts have begun contemplating these issues and attempted to formulate constitutional reform policies and effective measures for Canada. These initiatives related to copyright protection of musical works reflect a sophisticated analysis of each participant involved in music transmission through the Internet and are unique in this way. More flexible business mechanisms may contribute towards the achievement of a delicate balance between all the parties involved under the copyright umbrella.

This thesis explores how the study of culture can benefit from Western technology by reviewing anthropological theoretical and methodological processes and issues concerning reciprocity between the ethnographers and research subjects. In this case I am exploring the process of digitizing and dissemination of 400 hours of Kiowa song recordings. New digitizing equipment has made audio preservation and access relatively easy and affordable. These issues are most critical to groups like the Kiowa whose songs I have already started digitizing. In this thesis I closely examine existing collaborative theory and methodology in order to demonstrate the balance that can and should be maintained when using technology to preserve traditional music. In general, applying audio technology to an anthropological problem can enhance or inhibit the ethnographic process. My thesis focuses on how audio technology can contribute to this process without inhibiting, complicating, or distorting the way ethnomusicologists, folklorists, and anthropologists practice go about recording sound. / Department of Anthropology

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 192-204). Also available in electronic format on the Internet.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 54-55).

This thesis explores the use of sound recordings in the revitalisation of two minority languages – the Ainu (Japan) and the West Frisian (the Netherlands). Over the last few decades, a growing concern about linguistic diversity in the world has led to an increasing awareness of minority languages, which are endangered by loss. The concept of language revitalisation calls for work which will affect the vitality of these languages. The nature of these revitalisation efforts is inscribed into place-related processes and the interpretations of the relationships between language speakers and the place they live in. Sound recordings can afford language revitalisation with the restoration of sounds of languages. This thesis argues that the heart of language revitalisation lies in the re-sounding of place attachment and sense of place. The selection of the two language cases studies, which allow for the multi-faceted use of sound recordings to be revealed and understood, constitutes an important part in the search for an understanding of these interconnections. Based on these two language case studies, which contrast in degrees of language endangerment, this research analyses how and why sound recordings engage in the processes of language revitalisation. Qualitative methods of research, encompassing forty one semi-structured and episodic interviews conducted in Japan and the Netherlands along with observations and secondary data analysis, were used in this study. The comparative approach revealed similarities and differences in the revitalisation of the Ainu and West Frisian languages and the practices of using sound recordings. Importantly, this thesis demonstrates that the significance of sound recordings arise from their capability of creating aural experience of the language, which empowers both processes of language revitalisation with the restoration of place attachment and sense of place. This finding represents a key contribution to the research of linguistic and geographical knowledge about the revitalisation of endangered languages, the role of technology in language revitalisation and to the debate on saving linguistic and cultural diversity in the world.