{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/nc5s75847j/manifest","type":"Manifest","label":{"en":["Burma on Record Before 1962: A Discography in Context"]},"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":["Christopher A. Miller (Presenter)","Mike Devecka (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-20 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["With support from the Ambassador’s Fund for Cultural Preservation, U.S. Department of State, the authors--Christopher A. Miller and Ne Myo Aung--have worked with a small team of professionals and scholars in Burma to digitize 78rpm records made in the first half of the twentieth century. As the team surpassed 2,500 recordings processed, the resulting discographical work began to reveal a clear narrative around the production of recorded sound in Burma during this period. From the very early 1900s Western recording companies, such as the Columbia Graphophone Company, the Gramophone Company (primarily on the popular “His Master's Voice” label), and Parlophone established large catalogues, with production often occurring in neighboring India. The recordings themselves are considered in the context of recording company histories, catalogues and matrices, newspaper advertising, and personal accounts of the artists. As expertise was disseminated, burgeoning local companies and recording studios developed within pre-WWII Burma, eventually transitioning greater control into the hands of Burmese musicians and technicians. Examples from the recording companies of A.1, Burma Butterfly, The Twin, Freedom, Diamond, Karawait, and many more are considered with audio excerpts."]}},{"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":["With support from the Ambassador’s Fund for Cultural Preservation, U.S. Department of State, the authors--Christopher A. Miller and Ne Myo Aung--have worked with a small team of professionals and scholars in Burma to digitize 78rpm records made in the first half of the twentieth century. As the team surpassed 2,500 recordings processed, the resulting discographical work began to reveal a clear narrative around the production of recorded sound in Burma during this period. From the very early 1900s Western recording companies, such as the Columbia Graphophone Company, the Gramophone Company (primarily on the popular “His Master's Voice” label), and Parlophone established large catalogues, with production often occurring in neighboring India. The recordings themselves are considered in the context of recording company histories, catalogues and matrices, newspaper advertising, and personal accounts of the artists. As expertise was disseminated, burgeoning local companies and recording studios developed within pre-WWII Burma, eventually transitioning greater control into the hands of Burmese musicians and technicians. Examples from the recording companies of A.1, Burma Butterfly, The Twin, Freedom, Diamond, Karawait, and many more are considered with audio excerpts."]},"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/2670/collection_resources/128087/file/239770","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Miller_audio.mp3"]},"duration":1444.37044,"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/2670/collection_resources/128087/file/239770/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128087/file/239770/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/770/original/ARSC_conf_2010_Miller_audio.mp3?1714146598","type":"Audio","format":"audio/mpeg","duration":1444.37044,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128087/file/239770","metadata":[]}]}],"annotations":[]}]}