International symposium “78 rpm at home: Local perspectives on the early recording industry”

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.

For the PROGRAMME click here or download it here.

This Zoom invitation link needs registration! Click on the link below, register (enter your name and email address), and you will receive the link which you can use for a recurring meeting. In other words, the same link will be used for all four days of the symposium.
Topic: International symposium “78 rpm at home: Local perspectives on the early recording industry”
Time: Mar 8, 2023 08:30 AM Sarajevo, Skopje, Zagreb

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

Meeting ID: 891 2822 4356
Passcode: 949880


Friday, 10 March 2023 at 19:00, Croatian Composer Society (Berislavićeva 9, Zagreb)

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 recordsincluding 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.

Ride services such as Uber and Bolt are available and trustworthy in Zagreb.
Regular tram services network is available on this link.
Tickets could be purchased from the tram drivers (€0.80 / 30 min) or at various newsstands. Google Maps tend to be precise when it comes to tram traffic.
Airport transport: by bus via “Pleso prijevoz ” (details on the link, price: €5.97) and by taxi or Uber / Bolt (cca €16).


TRADITIONAL CUISINE: Medvedgrad pubKuća tete Ane (also veggie options), Stari fijakerVinodol
BURGERS ET AL.: Submarine (1st location and 2nd location), Arapera Maracay
Gastro corner at Cvjetno Center

Wednesday, 8 March 2023

10:30–11:30 Opening (SANJA KIŠ ŽUVELA, vice dean, Academy of Music; TVRTKO ZEBEC, assistant director, Institute of Ethnology and Folklore Research; NAILA CERIBAŠIĆ, chair of the programme committee; members of the organizing committee)

11:30–13 Keynote address (onsite): MARK KATZ (University of North Carolina at Chapel Hill). Seven or eight ways of thinking about the 78-rpm record

13–14:30 Lunch break

14:30–16:30 Session 1: PANEL (onsite): Colonial and post-colonial dynamics in the music industry: The case of early commercial recordings production in Portugal, Brazil, Mozambique and Goa; chair SUSANA SARDO

PEDRO ARAGÃO (Universidade de Aveiro/ INET-md). Casa Edison and the Brazilian early commercial recordings: Transatlantic musical flows in 78 rpm shellac discs phonograms
SUSANA SARDO & JOSÉ MOÇAS (Universidade de Aveiro/INET-md). “A Bem da Nação” – the double label of the first Portuguese commercial recordings in colonial and dictatorship times
NALINI ELVINO DE SOUSA & SUSANA SARDO (Universidade de Aveiro/INET-md). The lost discs: Reconstructing the Goa All India Radio archive through listening memories 3
CRISTIANO TSOPE (Universidade de Aveiro/ INET-md). Early gramophone records from Mozambique: The case of the Radio Mozambique sound archive

16:30–17 Coffee/tea break

17–18:30 Session 2 (onsite & online); chair INJA STANOVIĆ

17–17:30 IVANA VESIĆ (Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade). From gramophone records to mass audience: Film schlagers and popular songs and dances in Radio Belgrade programming (1929–1941) (online)
17:30–18 JELKA VUKOBRATOVIĆ (Department of Musicology, Academy of Music, Zagreb). The treatment of foreign popular music in Yugoslav record production during the 1950s (onsite)
18–18:30 WICTOR JOHANSSON (The Centre for Swedish Folk Music and Jazz Research, Stockholm). Avanti and the Swedish Communist Youth League: The recording industry as a tool for producing and selling political ideology (onsite)

Thursday, 9 March 2023

9:30-11 Session 3 (online); chair MOJCA PIŠKOR

9:30–10 TAN SOOI BENG (Universiti Sains Malaysia, Penang). Decolonizing sonic historiography through the study of 78 rpm recordings
10–10:30 SAMANTHA OWENS (Victoria University of Wellington – Te Herenga Waka). “To us … the gramophone means much”: Community building through phonog raph records in Aotearoa New Zealand during the 1920s and 1930s
10:30–11 DON NILES & BRUNO TENAKANAI (Institute of Papua New Guinea Studies, Port Moresby). From cylinders to discs to cassettes: On the road to a commercial recording industry in Papua New Guinea

11–11:30 Coffee/tea break

11:30–13 Session 4, PANEL (onsite): Localizing the “talking machine”: The early spoken-word recording in regional perspective; chair PATRICK FEASTER

WILL PRENTICE (Phonogrammarchiv of the Austrian Academy of Sciences, Vienna). Let’s talk about taste
PATRICK FEASTER (First Sounds initiative, Phonographic speech in cross-cultural comparison
XIAOSHI WEI (School of Oriental and African Studies, University of London). Literati languages on the Möllendorff cylinders in 1899

13–14:30 Lunch break

14:30–16:30 Session 5 (onsite & online); chair JOŠKO ĆALETA

14:30–15 FRANZ LECHLEITNER (emeritus, Phonogrammarchiv of the Austrian Academy of Sciences, Vienna). Early commercial recording activities in their European context (onsite)
15–15:30 FERENC JÁNOS SZABÓ (Institute for Musicology RCH ELKH, and Liszt Academy, Budapest). (Inter)national recording histories of Central Europe (onsite)
15:30–16 TRAYCE ARSSOW (independent researcher, Skopje). Edison Bell’s triangular record in South-Eastern Europe: Paul Voigt’s electrical recording expeditions in Yugoslavia, Hungary, and Romania, 1927–1929 (online)
16–16:30 DAVID D. POKRAJAC (Faculty of Sciences and Mathematics, Niš) & SAŠA SPASOJEVIĆ (independent researcher, Belgrade). Phonograph records of Mijat Mijatović on Radio Belgrade programmes 1930–1933 (online)

16:30–17 Coffee/tea break

17–18 Session 6 (onsite & online); chair TANJA HALUŽAN

17–17:30 TARA BROWNER (The University of California, Los Angeles). The relationship between technology and repertory at the dawn of the acoustic era (online)
17:30–18 INJA STANOVIĆ (University of Surrey). The Disque Chantal 2022: New takes on the old machines (onsite)

19:00 Joint dinner for participants (Stari fijaker, Mesnička 6)

Friday, 10 March 2023

9:30–11 Session 7 (onsite); chair JELKA VUKOBRATOVIĆ

9:30–10 DAMIR IMAMOVIĆ (independent researcher and artist, Sarajevo). Local perception of the early recorded Bosnian music
10–10:30 ЈЕLENA JOKOVIĆ (PhD candidate, Department of Ethnomusicology, Faculty of Music, Belgrade). Comparative ethnomusicological analysis of orchestral per formances of folk songs: Case study of the songs “Jedna cura mala” and “Kad sam bio mlađan lovac ja”
10:30–11 JOŠKO ĆALETA (Institute of Ethnology and Folklore Research, Zagreb). 101 Dalmatinska – Jugoton releases of Dalmatian (popular) songs as a forerunner of the organized klapa singing movement

11–11:30 Coffee/tea break

11:30–12:30 Session 8 (onsite & online); chair ŽELJKA RADOVINOVIĆ

11:30–12 DANKA LAJIĆ MIHAJLOVIĆ & BOJANA RADOVANOVIĆ (Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade). The “Mijatovke” collection on 78 rpm records: Early recordings as contributors in the formation of national culture (onsite)
12–12:30 NATAŠA MARJANOVIĆ (Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade). The contribution of Edison Bell Penkala to presentation and preservation of church music tradition: The Conservatory of Serbian Orthodox Church Chant (online)

12:30–14 Lunch break

14:00–16:00 Musical walk through the Upper Town, led by Nada Bezić (Croatian Music Institute)

16:00–18:00 Session 9 (onsite & online); chair MARCIA OSTASHEWSKI

16–16:30 FILOMENA LATORRE, ANGELO POMPILIO & MADDALENA ROVERSI (Università di Bologna). Issues in managing a record collection: A case study of the Toffalori and Benedetti collections at the Depar tment of Cultural Heritage of the University of Bologna (onsite)
16:30–17 MARTIN MEJZR, MICHAL STUDNIČNÝ & FILIP ŠÍR (National Museum, Prague). Marketing the early sounds in Central Europe: The case of the Czech lands and selected retailers of phonograph cylinders and 78 rpms (onsite)
17–17:30 RISTO PEKKA PENNANEN (Sibelius Academy, University of the Arts Helsinki). Constructing the record business in Habsburg Bosnia-Herzegovina: Company agents and middlemen (online)
17:30–18 VELJKO LIPOVŠĆAK & IVAN MIRNIK (independent researchers, Zagreb). Mavro Drucker – the first gramophone records publisher in Croatia (onsite)

19:00 Stardust: Concert dedicated to the period of playing back and spinning at 78 rpm / Zvjezdana prašina: Koncert posvećen razdoblju sviranja i vrtnje na 78 okr. u min. (Croatian Composers’ Society, Berislavićeva 9)

Saturday, 11 March 2023

9:30–10:30 Session 10 (onsite and online); chair PEDRO ARAGÃO

9:30–10 GERDA LECHLEITNER (emeritus, Phonogrammarchiv of the Austrian Academy of Sciences). Two worlds of sound recording – competing technologies, different objectives – and the position of ethnomusicology (onsite)
10–10:30 LEE WATKINS (International Library of African Music, Rhodes University, Grahamsto wn). Hugh Tracey and the aura of his 78 rpm recordings in the age of mechanical reproduction (online)

10:30–11 Coffee/tea break

11–13 Session 11, PANEL (onsite): 78 rpm records as a source for ethnomusicology and ethnochoreology: The Slovenian case; chair DRAGO KUNEJ

MOJCA KOVAČIČ (Institute of Ethnomusicology, ZRC SAZU, Ljubljana). Folk song on gramophone records of vocal ensembles of the musical society Glasbena matica
URŠA ŠIVIC (Institute of Ethnomusicology, ZRC SAZU, Ljubljana). Music on 78 rpm records as a source of song folklorization
REBEKA KUNEJ (Institute of Ethnomusicology, ZRC SAZU, Ljubljana). Dancing to the 78 rpm records?
DRAGO KUNEJ (Institute of Ethnomusicology, ZRC SAZU, Ljubljana). Historical commercial records and the study of new musical genres and styles

13–14:30 Lunch break

14:30–16:30 Session 12 (onsite); chair FERENC JÁNOS SZABÓ

14:30–15 MARCIA OSTASHEWSKI (Department of Literature, Folklore and the Arts, Cape Breton University, Sydney). Re-recording regional histories: Learning from private collections in Ukrainian diaspora communities in Nova Scotia, Canada
15–15:30 DORA DUNATOV (Institute of Ethnology and Folklore Research, Zagreb). Records, music, shops and kolo: A case study on a South-Slavic music record seller in the post-WWII US
15:30–16 NIKOLA ZEKIĆ (independent researcher, Podgorica). Collecting blindly: The insights and perspectives of a visually impaired collector
16–16:30 MATIJA JERKOVIĆ (independent researcher, Osijek). Who is a record collector and who is a record consumer? Insights from the existing research

16:30–17 Coffee/tea break

17–18:30 Final discussion and closing, moderated by MARK KATZ and NAILA CERIBAŠIĆ