{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/7d2q52gw8g/manifest","type":"Manifest","label":{"en":["Sound Recording as a Tool for Musicological Research into Musical Automata"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Helmut Kowar (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2007-05-05 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["Since 1980 the Phonogrammarchiv of the Austrian Academy of Sciences has been running a project which focuses on the documentation of mechanical musical instruments. This adventure turned out to be most rewarding, as musical automata, though surprisingly popular with all social classes since the Renaissance, have been widely neglected in musicological research. Making and collecting recordings not only proved to be essential in preserving this part of our cultural heritage; it is also an indispensable tool for doing research into musical automata and their music. Producing a sound recording of musical automata results in the creation of a document of both the instrument and the music; it is independent of the future fate of the instrument--a crucial point in the history of mechanical musical instruments--and makes the information on the instrument and its music available for further investigations. However, during the recording process--to give just an example--essential aspects concerning the acoustic characteristics must be considered: the musical perception of the instrument, for instance, will vary, depending on whether a musical box is played with the lid closed or open, with the movement built into the base of a clock or dismantled, or whether it is placed on a resonant wooden table or some other surface. More questions arise with the possible and available performance qualities of the automaton, its actual status, the quality of its restoration, or its historical setting. Also doing videos will add considerably on the amount of information. Thus, eventually, one will be able to research the music and deduce from it favorite styles and sound characteristics, the musical phrasing and the techniques of arrangements. With the help of the sound recording we can study the musical repertoire, the authentic performance, and the musical perception of decades and centuries ago preserved on musical automata. The paper will discuss the relationship of musical automata and sound recordings as well as the problems arising with locating and recording mechanical instruments, and will give a critical evaluation of the information provided on such recordings. Audio and video-examples will illustrate some of the aspects mentioned and will provide insights into musicological investigations."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["Since 1980 the Phonogrammarchiv of the Austrian Academy of Sciences has been running a project which focuses on the documentation of mechanical musical instruments. This adventure turned out to be most rewarding, as musical automata, though surprisingly popular with all social classes since the Renaissance, have been widely neglected in musicological research. Making and collecting recordings not only proved to be essential in preserving this part of our cultural heritage; it is also an indispensable tool for doing research into musical automata and their music. Producing a sound recording of musical automata results in the creation of a document of both the instrument and the music; it is independent of the future fate of the instrument--a crucial point in the history of mechanical musical instruments--and makes the information on the instrument and its music available for further investigations. However, during the recording process--to give just an example--essential aspects concerning the acoustic characteristics must be considered: the musical perception of the instrument, for instance, will vary, depending on whether a musical box is played with the lid closed or open, with the movement built into the base of a clock or dismantled, or whether it is placed on a resonant wooden table or some other surface. More questions arise with the possible and available performance qualities of the automaton, its actual status, the quality of its restoration, or its historical setting. Also doing videos will add considerably on the amount of information. Thus, eventually, one will be able to research the music and deduce from it favorite styles and sound characteristics, the musical phrasing and the techniques of arrangements. With the help of the sound recording we can study the musical repertoire, the authentic performance, and the musical perception of decades and centuries ago preserved on musical automata. The paper will discuss the relationship of musical automata and sound recordings as well as the problems arising with locating and recording mechanical instruments, and will give a critical evaluation of the information provided on such recordings. Audio and video-examples will illustrate some of the aspects mentioned and will provide insights into musicological investigations."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126500/file/236379","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2007_Kowar_audio.mp3"]},"duration":2768.77856,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126500/file/236379/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126500/file/236379/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/236/379/original/ARSC_conf_2007_Kowar_audio.mp3?1711060333","type":"Audio","format":"audio/mpeg","duration":2768.77856,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126500/file/236379","metadata":[]}]}],"annotations":[]}]}