Project DISKOGRAF is organizing an international symposium 78 rpm at home: Local perspectives on the early recording industry in March 2023 at Music Academy in Zagreb and online, via Zoom platform (8-11 March 2023).
The language of the symposium is English.
On this site, you can find the program, browse the symposium booklet and check out abstracts and presenters’ biographies, learn more about the symposium and its themes, read the notes related to the venue of the symposium, transportation around Zagreb and see the recommended gastro offer near the venue.
1) Mar 8, 2023 08:30 AM
2) Mar 9, 2023 08:30 AM
3) Mar 10, 2023 08:30 AM
4) Mar 11, 2023 08:30 AM
Join Zoom Meeting
https://us06web.zoom.us/j/
Meeting ID: 891 2822 4356
Passcode: 949880
The symposium “78 rpm at home” will be hosting several performers in a concert dedicated to the period of playing back and spinning at 78 rpm Stardust.
The concert will present a selection of foreign and domestic pieces produced during the period of shellac records by the three Zagreb-based record companies (Edison Bell Penkala, Elektroton and Jugoton), and at the same time issued as sheet music (most often by Albini publishing house). The performers are students of the Voice Department at the Academy of Music, accompanied by piano. The audience will be introduced to the operation of the record companies and sheet music publishers, emphasizing some interesting aspects of music and dance grooved on the gramophone records, the features of their musical interpretation then and now, and the illustrations on sheet music covers. The concert has been prepared in collaboration with Eva Kirchmayer Bilić; we are grateful for her help and cooperation.
Gabrijela Hrženjak, soprano
Vlatka Kladarić, soprano
Dorian Stipčić, baritone
Eva Kirchmayer Bilić, piano
Nada Bezić, moderator and organizer
Marko Vukasović: Kraj kapele Sv. Ane
Gabrijela Hrženjak, soprano
János Kurucz: Bele ruže, nežne ruže
Vlatka Kladarić, soprano
Miroslav Biro: Tri palme
Gabrijela Hrženjak, soprano
Nenad Grčević: Snivaj
Dorian Stipčić, baritone
Milan Asić: Zar ne znaš
Vlatka Kladarić, soprano
Gabriel Ruiz: Amor, amor, amor
Dorian Stipčić, baritone
Cole Porter: Begin the beguine
Gabrijela Hrženjak, soprano
You can download the symposium booklet here.
This international symposium seeks to examine the production, circulation and consumption of music under the aegis of music industries in specific social, cultural and political settings. It is informed by an ongoing project on the workings and impact of three Zagreb-based record companies, active during the era of electrically recorded 78 rpm shellac records, on the local music culture of that and subsequent periods. Apart from the “big five” concept of the recording industry as a globalizing force, attuned to the “West and the rest” matrix, the symposium aims to elucidate other directions of musical flow, thus probing a rhizomatic concept of the recording industry in culture.
Programme Committee: Naila Ceribašić (chair), Drago Kunej, Daniel Leech-Wilkinson, Risto Pekka Pennanen, Ivana Vesić, Jelka Vukobratović, Peter Tschmuck
The major symposium theme relates to the working of local companies in the era of 78 rpm records, including their relationship with multinational companies. Participants are invited to address different musics, musicians, audiences, and market niches, in particular in South-Eastern, Central and Eastern Europe, but also in other regions of the world.
The second theme pertains to the uses of historical commercial recordings in subsequent periods. Papers dealing with the musical transmission, revival, intertextuality, social life of gramophone records, and curation of historical recordings are equally welcome.
The third theme refers to ethnomusicological perspectives in the study of historical commercial recordings: what challenges do they pose to this distinctly fieldwork-based discipline, as well as what benefits ethnomusicology can bring to interdisciplinary research into recorded music.
The range of specific cases may include but is not limited to: local branches of multinational companies, and nationally-based record companies; organization of production processes and professions involved; relation of record companies to other pillars of musical infrastructure (radio, film, festivals, concerts, sheet music publishing, print media, musical associations, copyright protection); technological, political and economic circumstances of their operation; their role in identity formation, nation building, and cultural geopolitics; intercultural, intra- and inter-regional, and international traffic in recorded music; musics, musicians, and communities included and excluded from the recording catalogues; musical canon formation; collaborations beyond established musical categories; domestication of international repertoires, musical hybridity, and new repertoires, genres and styles incited by radio and recording industry; places, spaces and manners of using recorded music; historical recordings and historically-informed performance; historical recordings and musicking in the digital environment, and/or beyond the dichotomy of live and recorded music; communities of aficionados and do-it-yourself curators and archivists of historical recordings; ethnographic and collaborative methodologies in the curation of historical recordings; the issues of intellectual property rights and related rights, ethics of equality, social inclusion, human rights and sustainability in the uses of historical recordings.
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