Over the course of the years, we have compiled a library of research lectures, papers and snapshots (short papers) on early recordings given at our AHRC-funded symposia, as well as at the three conferences we organized (2019-2021) prior to the inception of the network. These can be seen in our Youtube channel; a list is provided below.
Christoph Flamm, “”Is Anton Rubinstein the anonymous accompanist on Julius Block’s wax cylinders?”
Massimo Zicari, “Early recordings of operatic arias: reconstructing a living tradition”
Carolina Estrada Bascuñana, “Nightingale: the study of 19th-century Spanish pianists’ performances”
Joanna Staruch-Smolec, “Portamento, rubato and bow expression in Eugène Ysaÿe’s recordings”
Laura Granero, “Clara Schumann’s tradition through the recordings of her pupils”
Vincent Andrieux, “The Distant Echoes of Debussy’s La Mer”
Johannes Gebauer: Analysing String Fingerings in Early Recordings: Methods for Computer- aided deconstruction
Sebastian Bausch, “How can (or should?) we listen to piano rolls?”
Naila Ceribasic, “The Record Industry in Croatia from 1927 to the end of 1950s”
Filip Šír and Martin Mejzr, “Listening to the History of Sound”
William Brooks: Entangled relations between recording, performance, and publication in the United States during World War I: a case study
Jon Banks, “Brahms’s Hungarian Dances and the Earliest Csárdás Recordings”
Anne Kauppala, “Aino Ackté’s non-existent Salome recordings”
Karin Martensen, “Sources and Analyses on the Aesthetics and History of Early Sound Recording”
Fatima Volkoviskii, “Flamenco beyond the Established View”
Benjamin M. Korstvedt, “Bruckner at the Turning Point: the earliest recordings of the Fourth Symphony as documents of changing performance practices”
Joanna Staruch-Smolec, “Towards Better Understanding of Ysaÿe’s Portamento: A Comparative Study of Recorded and Annotated Evidence”
Kate Bennett Wadsworth, “Talking with your hands: early spoken-word recordings as a guide to string portamento”
Jeroen Billiet, “‘The instructive-pitoresque museum‘: The paradigm of instrumental tuition in Belgian belle époque horn studios, reflected in early 20th century recordings”
George Kennaway, “Why Bach? Why not Tartini? Early recordings of 18th-century string music and the nineteenth-century canon”
David Milsom and Inja Stanović, “Setting the Record Straight: Violin and piano in disc recording session”
Barbara Gentili, “Portraying a New Womanhood in the Early Recordings of Verismo Sopranos”
Chris Dingle, “Old-fashion(ed) lessons: teaching performers through early recordings”
Eva Moreda Rodríguez, “Talking machines in Spanish commercial plays, 1888-1913”
Simon Heighes: “Scratch and sniff: the unsung pioneers of ‘home’ recording”
Redefining Early Recordings 