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International Telemetering Conference Proceedings / October 27-30, 1997 / Riviera Hotel and Convention Center, Las Vegas, Nevada / An IRIG standard flight recorder has been developed that is based on half-inch helical scan technology. The recorder was developed by combining the data channel of existing ground-based recording systems with transport technology used in both flight test and operational fighter aircraft environments. The design goal was to achieve cross play compatibility with the defined IRIG 106.6 tape format. Significant margins were provided in the design to maintain compatibility with tapes recorded in fighter aircraft environments. Operation at up to 50,000 feet, a temperature range of -40EC to +55EC, and vibration sources to Mil Spec 5400T are requirements in this environment. How these technical problems were overcome during the development of this recorder is addressed in this paper.

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

This project seeks to determine the extent to which rock music brought an end to the Hollywood film genre of the musical. It stresses the importance of rock and post-1960s popular music scholarship to film studies and vice-versa. Both objects of popular music inquiry remain relatively unexamined within film studies. But while the value of film studies to popular music scholarship has been much more widely acknowledged, much more work remains in these areas. Therefore, this project will look at the workings of rock ideology and how it impacted the development of the Hollywood musical. It will also examine recording technology and the ways in which it transformed both the film and music industries. The second half of this project is an extended analysis of how Hollywood films of the post-rock era (1970 onward) have reflected these changes. It theorizes that it was not so much the musical that “died” in this era as it was a particular kind of musical number – the Spontaneous Outburst of Song. The later chapters use the concept of mode as opposed to genre to examine how the pleasures offered by the musical of the classical Hollywood era remain available albeit in different guises and genres. Furthermore, these pleasures are capable of fostering the kinds of communities, if not utopias, that some scholars claim have died along with the classical Hollywood era. / text

This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition. The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969. The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities. / Music

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

<p>At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz's relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism. Jazz, as an African American social and musical practice, became a form of resistance against the violent structures of institutional racism within the United States in the 1950s. </p><p>Using the records of Miles Davis, Duke Ellington, Dizzy Gillespie, and Cannonball Adderley, this study outlines the diverse approaches to record making that characterized the transitional years as the LP became the standard recording format. Through archival research, close listening, and detailed discographical analyses of the era's most influential record labels, I show how jazz practices and musical "mistakes" caught on record provided opportunities for recording experimentation. I examine choices made during the record production process, such as tape edits, microphone placement, overdubbing, and other sound processing effects, connecting such choices to the visual and tactile attributes of these discs. Drawing on scholarship that considers how sound reproduction technologies mediate constructions of race and ethnicity, I argue that the history of jazz in the 1950s is one of social engagement by means of and through technology. At the Vanguard of Vinyl is a cultural history of the jazz LP that underscores the ways in which record making is a vital process to music and its circulation.</p> / Dissertation

From the mid 20th century into the 21st, artists and musicians manipulated, cracked and broke audio media technologies to produce novel, unique and indeterminate sounds and performances. Artists such as John Cage, Nam June Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo Yoshihide pulled apart the technologies of music playback, both the playback devices � phonographs and CD players � and the recorded media � vinyl records and Compact Discs. Based in the sound expansion of the 20th century musical avant garde, this practice connects the interdisciplinary Fluxus movement with late 20th century sound art and experimental electronic music. Cracked and broken media techniques play a significant role in 20th century music and sound, and continue to be productive into the 21st. The primary contribution of this thesis is to provide a novel and detailed historical account of these practices. In addition it considers theoretical approaches to this work. After considering approaches through critiques of recording media, and concepts of noise, this thesis proposes novel theorisations focusing on materiality and the everyday. Ultimately it proposes that these practices can be read as precursors to contemporary new media, as music and sound art cracked open the fixed structures of �old media� technologies for their own creative purposes.