Sound archives

In recent decades, the study of Ibero-American music has undergone a deep transformation driven by the development of new strategies, methods, and theories, as well as by increasing interdisciplinarity and the rapid incorporation of computational tools. These new frameworks coexist with (auto)ethnographic, semiotic, and decolonial perspectives, fostering renewed analytical approaches that transcend formalist boundaries and enable a more plural understanding of musical signification processes in Ibero-American music. The V MUSAM / SEdeM Conference invites scholars to reflect on these emerging approaches from a transatlantic perspective, addressing both the analysis of sound discourse through updated analytical tools and the study of discourses about music, including its creation, performance, reception, and circulation between both sides of the Atlantic. The conference aims to establish a scientific dialogue that expands the analytical possibilities and strategies of the Ibero-American soundscape, promoting a more dynamic and inclusive framework that reflects the diversity and complexity of musical practices in the Atlantic and global contexts.  // En las últimas décadas, el análisis de las músicas iberoamericanas ha experimentado una profunda transformación impulsada por el desarrollo de nuevas estrategias, métodos y teorías, así como por la creciente interdisciplinariedad y la acelerada incorporación de herramientas computacionales. Estos nuevos marcos conviven con perspectivas (auto)etnográficas, semióticas y decoloniales, dando lugar a renovadas formas de análisis que trascienden los límites formalistas y permiten repensar los procesos de significación musical en las músicas iberoamericanas desde perspectivas más plurales. El V Congreso MUSAM / SEdeM invita a investigadores a reflexionar sobre estos enfoques emergentes desde una perspectiva trasatlántica, abordando tanto el análisis del discurso sonoro a partir de herramientas analíticas actualizadas, como el estudio de los discursos sobre la música, incluyendo su creación, interpretación, recepción y circulación entre las dos orillas. El congreso aspira así a generar un espacio de diálogo científico que amplíe las posibilidades y estrategias analíticas del universo sonoro iberoamericano, promoviendo un marco más dinámico e inclusivo que refleje la variedad y complejidad de las prácticas de la región en el contexto atlántico y global.

Ponencia presentada en el 23 Congreso annual de IAML que tuvo lugar del 30 de julio al 4 de agosto en la universidad de Cambridge. El objetivo de la conferencia será presentar una guía colectiva de los fondos personales de compositoras e intérpretes en las principales bibliotecas, archivos y centros de documentación musical de España. Se detallarán las colecciones, su naturaleza y el acceso a la información, incluyendo datos sobre la creación actual de mujeres compositoras y una selección bibliográfica. La publicación en 2008 de la obra titulada "Mujeres compositoras: la creatividad femenina desde la Edad Media hasta la actualidad", editada por el citado Centro de Documentación de Música y Danza, sería el punto de partida de este proyecto, con un contenido ya contrastado y revisado. Se espera que este proyecto sea de interés para la Asociación y sirva como modelo de trabajo para otros países miembros. / Paper presented at the 2023 IAML Congress that took place from 30 July to 4 August in Cambridge University. The aim of the conference will be to present a collective guide to the personal collections of composers and performers in the main libraries, archives and musical documentation centers in Spain. The collections, their nature and access to information will be detailed, including data on the current creation of women composers and a bibliographic selection. The publication in 2008 of the work titled "Women composers: female creativity from the Middle Ages to the present", published by the Music and Dance Documentation Center, would be the starting point of this project, with content already contrasted and reviewed. It is expected that this project will be of interest to the Association and serve as a working model for other member countries.

Providing citizens with easy access to the results of research via online dissemination can revitalize the relationship between science and society. If research in the humanities and social sciences, and in particular their audiovisual sources, are to be included in this movement, an effort has to be made to understand and adapt to the requirements of online dissemination. Until recently, furthermore, audiovisual archives were rarely consulted by the public. Embracing the digital turn, therefore, will also represent an important shift for archival managers and researchers. Two main questions can be posed regarding the accessibility of these audiovisual collections. First, how can online dissemination be reconciled with the ethical and legal respect due to persons and institutions involved in qualitative research projects? Issues of authorship, copyright, and confidentiality have to be taken into account. Second, how can the slow internal process of collecting, archiving, and dissemi...

In France, two major events have changed the use of oral sources dissemination of research in the early 21st century. The evolution of technology has not only revolutionized a familiar landscape, revealed new actors and new issues but also, with the use of digital recorders, developed practices of collection. This movement was amplified by a strong social and cultural demand around the oral memory in France and around the world. The resource centers responsible for maintaining and enhancing the oral source are now hundreds, physical or virtual, which offer the online corpus - olds and news -. This article attempts to draw a map of sound corpus, in France, on the Internet at the dawn of the 21st century, limited to oral inquiries recorded in the field of humanities and social sciences. It is organized according to a typology section, taking into account the intentions or motivations of those who sets up resource centers. Indeed, beyond the simple inventory, the objective is to clarif...

Various enquiries and a census reveal that more than half of patrimonial sound collections with ethnographical interest being made in France are about ethnomusicology and dancing. Overwhelmingly association-made collections have been recorded in the wake of identity movements and ...

Autour des années 1970 1 , dans un contexte d'exaltation du sentiment régionaliste, les linguistes, les historiens et les ethnologues ont porté un intérêt nouveau ou renouvelé au terrain, principalement par la prise en considération des témoignages oraux. Pour le ...

This article considers Hugh Tracey’s 1952 book African Dances of the Witwatersrand Gold Mines in relation to the history of music scholarship in southern Africa. Its first finding is that sound recordings and archives were crucial in the making of disciplines such as ethnomusicology and ethnology in Africa, and that Hugh Tracey was at the forefront of this process, especially in southern Africa. Its second finding is that Tracey’s project contributed to the discourse of tribing that was popular at the time, both in academic disciplines such as ethnology and in practical enterprises such as commercial recording and mining industries. The central argument is that, arising when it did in the history of sound reproduction, Tracey’s project instantiated a particular vision of the sound archive in Africa, one that emphasized preservation, purity, and study. The article also retrieves the work of early African intellectuals whose cultural vision ran counter to that of Tracey and his contemporaries; in particular, apartheid is held responsible for suppressing the views of African intellectuals such as H. I. E. Dhlomo. The article concludes with some reflections on the future of African music scholarship.

Le cours "Formats et Normes Documentaires" explore les différentes conventions, standards et pratiques utilisés pour structurer, organiser et présenter des documents dans divers contextes. Il aborde les principes fondamentaux de la structuration de l'information, les normes de présentation et de publication, ainsi que les formats de fichier couramment utilisés.
Ce cours examine également l'importance de la conformité aux normes dans la création, l'édition et la diffusion de documents.

In recent decades, European and North American institutions' sound archives have emerged as abundant research sources for ethnomusicologists, folklorists, and anthropologists, offering unique records of musical practices from the Global South. Although ethnomusicologists have explored the possibility of repatriating these archives, addressing a colonial legacy, certain aspects of this research approach  diminish  the  agency  and  subjectivity  of  the  collaborators  participating  in  the  repatriation process. This paper investigates the past and present dialogue by collaborating with Mestre Iuri Santos' Capoeira Angola Group Estrela do Norte, based in Bloomington, Indiana, to create a capoeira musical album.  The  album  draws  inspiration  from  interviews with contemporary capoeira  practitioners  and capoeira sound archives produced by the African-American linguist Lorenzo Dow Turner in 1940 and 1941 in Salvador, Bahia, stored in the Archives of Traditional Music (ATM) at Indiana University. Based on  two  years  of  fieldwork,  the  study  includes  semi  structured  interviews,  participant  observation  of capoeira classes, sessions of close listening to the Lorenzo Dow Turner collection, and the album's pre-recording,  recording,  and  post-production  process.  This  paper  introduces  a  novel  theoretical-methodological  approach  to  sound  archives,  presenting  a  different  modality  of  scholarship  that juxtaposes  the archive  and  the  repertoire  and  establishes  a  dialogue  in  performance-based ethnomusicology focused on sound-based participatory research.

The music, the radio programs, the voices of poets, writers, scientists, politicians; the testimonies of indigenous peoples, the soundscape, sound art, among others types of sound recordings are evidence of the historical development, information source, mediums for acquiring knowledge, education and cultural vehicles property constituting part of the sound heritage humanity. There are over one hundred million sound recordings that have been recorded in various sound supports in risk of being lost in the coming years. In fact, recent research realized established that every decade will miss 30% of the sound heritage in Europe and 50% in Latin America. In the age of digital information, characterized by the daily generation of thousands of digital documents, coexists the loss of sound archives that for over 150 years have been recorded on analog media. The only way to guarantee the preservation of the sound archives is digitized documents and keeps them in digital platforms. In fact, in this paper are analyzed the challenges of digital preservation to ensure the sound conservation and access to sound archives contents. These challenges are: • • Knowledge of the quantity, content and conditions of the sound archives • • Cooperation and collaboration without borders front to deterioration of the sound archives • • The incorporation of sound document of digital source in the archive • • Sustainability of the digital sound archive

The music, the radio programs, the voices of poets, writers, scientists, politicians; the testimonies of indigenous peoples, the soundscape, sound art, among others types of sound recordings are evidence of the historical development, information source, mediums for acquiring knowledge, education and cultural vehicles property constituting part of the sound heritage humanity. There are over one hundred million sound recordings that have been recorded in various sound supports in risk of being lost in the coming years. In fact, recent research realized established that every decade will miss 30% of the sound heritage in Europe and 50% in Latin America. In the age of digital information, characterized by the daily generation of thousands of digital documents, coexists the loss of sound archives that for over 150 years have been recorded on analog media. The only way to guarantee the preservation of the sound archives is digitized documents and keeps them in digital platforms. In fact, in this paper are analyzed the challenges of digital preservation to ensure the sound conservation and access to sound archives contents. These challenges are: • • Knowledge of the quantity, content and conditions of the sound archives • • Cooperation and collaboration without borders front to deterioration of the sound archives • • The incorporation of sound document of digital source in the archive • • Sustainability of the digital sound archive

En el ambiente educativo las nuevas tecnologías se han vuelto una herramienta indispensable, han permitido traspasar barreras de espacio y tiempo, permitiendo capacitar a personas inmersas en diferentes culturas. En este contexto la digitalización es un paso importante e indispensable para la publicación de documentos con la información necesaria para el fin mencionado. La metodología propuesta pretende normalizar el proceso por el cual se obtienen los documentos a ser publicados dentro de una Biblioteca Virtual. Palabras clave: educación a distancia, plataforma e-learning, biblioteca virtual, digitalización de documentos.

En el ambiente educativo las nuevas tecnologías se han vuelto una herramienta indispensable, han permitido traspasar barreras de espacio y tiempo, permitiendo capacitar a personas inmersas en diferentes culturas. En este contexto la digitalización es un paso importante e indispensable para la publicación de documentos con la información necesaria para el fin mencionado. La metodología propuesta pretende normalizar el proceso por el cual se obtienen los documentos a ser publicados dentro de una Biblioteca Virtual. Palabras clave: educación a distancia, plataforma e-learning, biblioteca virtual, digitalización de documentos.

The paper analyses the conflicting issues that arise when dealing with Intangible Cultural Heritage (ICH) held in audio digital archives, when the demand for open access conflicts with ownership rights and ethical issues. It describes two case studies in order to evaluate the procedures used for doing research on oral materials while respecting the rights of others. The first refers to the activities carried on at the Phonothe `que de la Maison me ´diterrane ´enne des sciences de l'homme, a French sound archive; the second refers to the solutions envisaged by an Italian research project, Grammo-foni. Le soffitte della voce (Gra.fo), jointly carried out by Scuola Normale Superiore of Pisa and the University of Siena.

Through two case studies from Mozambique and Goa (India), this paper aims to analyze the role of individual approaches regarding sound archives in a post-colonial context. It argues that, despite the growing interest in ethnomusicology in community matters concerning sound archives, little attention has been paid to individual approaches regarding sonic collections. The paper seeks to demonstrate how individual approaches enable us to understand personal worldviews in relation to these collections, helping us comprehend how people construct critical discourses, senses of belonging, and otherness, as well as addressing issues such as race, silencing, and symbolic violence within these archives.

The performative practice of cantaram, defines a musical interlude within the scenes of a theatrical performance, being an integral part of tiatr, a theatrical form in Goa that solidified in the 1950s and 1960s. Cantaram themes are diverse and independent of the main plot of the tiatr production. Despite their integration with tiatr, cantaram has evolved as an independent art form and a tool for protest.

During the colonial era, cantaram composers created a repertoire crucial for awakening anticolonial sentiments among the lower social strata of Goans residing in Bombay and Goa. This repertoire gained prominence through 78rpm (rotations per minute) discs. Following in the footsteps of their predecessors, today’s composers and cantaram performers employ social media to disseminate their work.

Through cantaram, they critique the contemporary political and social scenario, highlighting specific everyday events, and thereby reaching an audience beyond India’s borders. This article analyses how cantaram functions as a tool for promoting political and social awareness, regardless of the medium used for dissemination.

ASTUCE, “Ambiances Sonores, Transports Urbains, Coeur de ville et Environnement” (Sound Ambiences, Urban Transport, City centre and Environment), is a research project aiming to provide a relevant methodology to improve the environmental quality of city centres by considering the concept of soundscape. The project gathers researchers from two laboratories belonging to two higher national schools of Architecture (GRECAU-Bx and CRESSON) and a National Transport Research Institute. The way the researchers want to approach this topic is by integrating the sensitive character of urban sound ambiences and the city dwellers sound experience. The goal of the project is to develop a global approach that helps local authorities, decisions makers, urban planners and town designers in the decision making process. By collecting information about the urban sound environment, identifying those that satisfy the city dwellers’ expectations and those that have to disappear or be modified, short- and ...

This paper discusses the Petra Anamnetic acoustic mapping project. Juxtaposing audio recordings made in the World Heritage Site of Petra and the neighbouring tourist town of Wadi Musa, Jordan, the piece interrogates how sound might provide insights into the complex frictions existing between the native Bedouins and the foreign travelers they have become dependent upon for their economic survival.

Through two case studies from Mozambique and Goa (India), this paper aims to analyze the role of individual approaches regarding sound archives in a post-colonial context. It argues that, despite the growing interest of ethnomusicology in community matters concerning sound archives, little attention has been paid to individual approaches regarding sonic collections. The paper seeks to demonstrate how individual approaches enable us to understand personal worldviews in relation to these collections, helping us comprehend how people construct critical discourses, senses of belonging, and otherness, as well as addressing issues such as race, silencing, and symbolic violence within these archives.

Greek-Karamanlidika publications represent a broad area of research in the history of Ottoman music. The publications written by Ottoman Greeks, most of whom were musicians or cantors, contain a wide range of repertoire and theoretical texts. They include material on Orthodox church music and folk music, as well as European and Ottoman music. However, I will focus on the material related to Ottoman music. Such documents
are largely found in various archives in Greece, Turkey, and Romania. These resources consist of many sub-themes such as theoretical texts, repertoire collections, articles and advertisements about music in periodicals, most of which were published in Istanbul. Beyond political and ideological reasons, we can say that these publications in various
archives have been digitised and made publicly available on online platforms, thanks to technological developments in the last twenty years. Some of them are available in the catalogues of libraries and can be accessed upon request. It should be noted that such sources have been the focus of international research in the last twenty years. By studying these sources, small or large groups of scholars are conducting research on the written culture of the period through readings from the perspective of music theory or social history. Moreover, comparative studies and critical editions of the sources have become increasingly important. At this point, I should make it clear that the sources are also idiosyncratic examples when we compare them with other texts related to Ottoman music, due to their cultural characteristics such as language, notation, repertoire and themes, in addition to the socio-cultural environment to which they refer. For this reason, there are many methodological sub-issues that we must deal with, both in terms of access to the sources as well as the technical dimensions of their content. Taking into account the historical changes, I would like to briefly address two issues: Firstly, what are the methodological strategies that are applied in terms of access to and evaluation of the Greek-Karamanlidika publications? Secondly, what are the technical approaches used by researchers to examine the historical documents of Ottoman music recorded by the Greek community, known as a minority in the Ottoman Empire, together with the other sources as a whole? I will discuss these questions with reference to some of the archives and research related to the Greek Karamanlidika sources.

HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License La diffusion numérique des données en SHS-Guide des bonnes pratiques éthiques et juridiques Véronique Ginouvès, Isabelle Gras To cite this version: Véronique Ginouvès, Isabelle Gras. La diffusion numérique des données en SHS-Guide des bonnes pratiques éthiques et juridiques.

Die Radiosendung Oriental Music des deutsch-jüdischen Musikethnologen Robert Lachmann, der 1935 nach Palästina emigrierte und an der Hebräischen Universität in Jerusalem ein Archiv außereuropäischer Musik aufbaute, ist Ausgangspunkt für eine filmisch-musikalische Forschungsreise der palästinensischen Künstlerin Jumana Manna. In diesem Beitrag werden sowohl die Probleme in Lachmanns orientalistischer Forschung herausgearbeitet als auch das Potential, das seine Idee von Musik als Mittel der Verständigung birgt. Lachmanns Stimme aus dem Archiv, die Manna ebenso ausgräbt wie die Vielzahl an Musiktraditionen Palästinas, die er in den 1930er Jahren dokumentierte, wird hier als ein call verstanden, auf den die Orientalismus-kritische Manna mit einer vielstimmigen response antwortet.

Die Radiosendung Oriental Music des deutsch-jüdischen Musikethnologen Robert Lachmann, der 1935 nach Palästina emigrierte und an der Hebräischen Universität in Jerusalem ein Archiv außereuropäischer Musik aufbaute, ist Ausgangspunkt für eine filmisch-musikalische Forschungsreise der palästinensischen Künstlerin Jumana Manna. In diesem Beitrag werden sowohl die Probleme in Lachmanns orientalistischer Forschung herausgearbeitet als auch das Potential, das seine Idee von Musik als Mittel der Verständigung birgt. Lachmanns Stimme aus dem Archiv, die Manna ebenso ausgräbt wie die Vielzahl an Musiktraditionen Palästinas, die er in den 1930er Jahren dokumentierte, wird hier als ein call verstanden, auf den die Orientalismus-kritische Manna mit einer vielstimmigen response antwortet.

Das Laborgespräch widmet sich dem transkulturellen Dialog und der multimedialen Auseinandersetzung mit der (post-)kolonialen Gewalt der Infrastrukturen elektrischer Telekommunikation, dem Widerstand dagegen und der Frage, wie die mit der deutschen Kolonialgeschichte verlorenen Verbindungen und entfremdeten Beziehungen im Rahmen künstlerischer und auch freundschaftlicher Praxis bearbeitet werden können. Das Gespräch führten Henriette Gunkel und Katrin Köppert mit Tuli Mekondjo, Luka Mukhavele, Frederike Moormann und Angelika Waniek. Sie sind Teil eines losen Künstler*innenkollektivs, dessen Auseinandersetzung sich von der Kommunikation mit Ahn*innen über die Beteiligung deutscher Großunternehmen am Genozid in Namibia bis zur gegenwärtigen Satellitentechnologie erstreckt.

//

The conversation addresses a transcultural dialog and multimedia examination of the (post-)colonial violence inflicted by electrical telecommunications infrastructures, the resistance against them, and the question how the connections and alienated relationships lost with German colonial history can be dealt with in the context of artistic and also amicable practice. Henriette Gunkel and Katrin Köppert talked with Tuli Mekondjo, Luka Mukhavele, Frederike Moormann and Angelika Waniek, who are part of a loose collective of artists whose work ranges from communication with ancestors and the involvement of major German companies in the genocide in Namibia to contemporary satellite technology.

El  archivo  sonoro  fundacional  del  Instituto  Nacional  de  Musicología  Carlos  Vega  (INM)  fue  generado  por  Carlos  Vega  como  un  objeto  de  estudio  para  examinar  y  clasificar las músicas populares de Argentina y Latinoamérica. Las investigaciones musicológicas de Vega se han convertido en un objeto de análisis en sí mismo. Sin embargo, ni Vega ni sus sucesores han puesto especial atención en la reflexión de la  praxis  de  producción  y  clasificación  documental.  El  presente  artículo  indaga  la política  documental  desarrollada  por  Carlos  Vega  con  el  propósito  de  proponer  una  metodología posible para la gestión de su acervo. En primer lugar, se estudian los modos de creación, catalogación y selección iniciados por Vega y continuados por el instituto. En segundo lugar, se expone una serie de estrategias adoptadas en pos del abordaje integral y procesual del archivo sonoro institucional del INM.

[en] The  foundational  sound  archive  of  the  Instituto  Nacional  de  Musicología  «Carlos  Vega»(INM)  was  generated  by  Carlos  Vega  as  an  object  of  study  to  examine  and  classify  the  popular music of Argentina and Latin America. In turn, Vega’s musicological research has become an object of analysis in itself. However, neither Vega nor his successors have paid special attention to the reflection of the praxis of documentary production and classification. Therefore,  this  article  investigates  the  documentary  policy  developed  by  Carlos  Vega  in  order to propose a possible methodology for the management of his collection. First of all, the  modes  of  creation,  cataloguing  and  selection  initiated  by  Vega  and  continued  by  the  institute are studied. Secondly, a series of strategies adopted in pursuit of the integral and procedural approach of the institutional sound archive of the INM is exposed.

Descriptif du cours Le XXe siècle se caractérise par une transformation profonde des pratiques culturelles et mémorielles, en grande partie due à l'essor de l'audiovisuel, et notamment des enregistrements sonores. Apparues à la fin du XXe siècle, les techniques analogiques d'enregistrement du son ont non seulement révolutionnés la perception des sonorités-voix, musique, bruits-mais aussi la conservation des savoirs et des récits, en créant de nouvelles formes de transmission historique.

Las emisoras de radio comerciales, como Radio Luxemburgo y Europe n°1, fueron medios de comunicación muy populares en la Europa Occidental de los años 60. Sin embargo, los investigadores no les han prestado tanta atención como a sus homólogas públicas. Siguiendo una tendencia que trata de volver a poner el foco sobre ellas, esta contribución revela el rico potencial que estas radios tienen para la literatura histórica y los radio studies. En este sentido, el trabajo constituye un alegato para profundizar en su análisis. Al tratarse de entidades comerciales, que no están obligadas a compartir sus archivos y que, a menudo, se encuentran en múltiples localizaciones y en diferentes idiomas, el proceso de investigación resulta, en ocasiones, dificultoso. A pesar de esto, escribir su historia ofrece muchas oportunidades. Así pues, y dado que estas emisoras tenían su sede en regiones periféricas de grandes mercados-en el caso francés, por ejemplo, para evitar el monopolio estatal-, se convierten en actores transnacionales clave. No obstante, no sólo son sujetos ideales para comprender la historia de la radio a través de las fronteras, sino que también son especialmente relevantes cuando se trata de estudios transmedia. En efecto, emisoras como Radio Luxemburgo y Europe n°1 dependían, en gran medida, de otros medios de comunicación para apoyar su aventura empresarial global. Por todo ello, esta contribución abordará su potencial para enriquecer la historia de la radio mediante la inclusión de perspectivas de análisis transnacionales e intermediales.

'That operation had all the characteristics of rape: the cynicism, the utter lack of scruple and the plain treachery that accompanied that particular crime against society. We were certainly outgunned and outmanoeuvred. We were indeed rolled by experts.' So wrote Harrison Bryan four years after the National Library lost its film and sound archive functions in 1984, while he was Director General. The assertion that underhanded 'sectional interests' were behind the creation of the National Film and Sound Archive (NFSA) for their own benefit was by then set in corporate mythology.This paper reviews what happened during that campaign, the climax of a decades-long saga during which the film, television and sound recording communities expressed ever-mounting concern about the National Library’s perceived inadequacies. In the NFSA’s 40th anniversary year, it is timely to revisit an institutional and political drama of advocacy, ethics and loyalty. How does a memory institution engage in truth telling?

This introduction explores the notion of “ethnographic rubbish” – recordings that fall outside the ethnographer's initial analytical framework – and positions this rubbish as worthy of scholarly attention. It argues for the inclusion of these “noisy” artifacts in the broader ethnographic narrative, suggesting that they can offer unique insights into the affective and infrastructural aspects of the researched environments. By foregrounding the materiality of sound and advocating for a multimodal ethnographic approach, this introduction invites a reassessment of what constitutes valuable data.

This paper presents the rich archival collection of sound recordings of the Serbian church music, kept at the Phonoarchive of the Institute of Musicology SASA. The study focuses on the sound recordings of the traditional Serbian church chant, from the end of the 1960s to the mid-1980s, made in churches and monasteries in Serbia, Croatia, Bosnia and Herzegovina and Hungary, during musicological field research by dr Dimitrije Stefanović and dr Danica Petrović. These unique sources, which have been previously unknown to the wider public, are the authentic testimony of the heritage of

Collections and archives of environmental sound recordings are undergoing rapid transformations, diversifying their intents from educational purposes and biodiversity conservation to artistic endeavors and broader entertainment projects. The recorded materials, often presented as pristine soundscapes seemingly untouched by any cultural agency, mirror nature-culture dichotomies and tendencies for sonic “salvation” which shaped the collecting attitude of sound-related disciplines both in Natural Sciences and Humanities. In recent decades, communities urging for the return of sonic heritage have signaled a growing awareness towards the severe material and immaterial consequences of such approaches to soundscape conservation, driven by colonial logics of extraction, appropriation, objectification, and displacement. The current gap in established and sustainable guidelines for co-designed and participatory archival practices – capable of granting intellectual sovereignty to communities over their own sonic heritage – is addressed on transdisciplinary grounds through a multitude of creative approaches frequently inspired by local knowledge.
Muitalusat guldaleami birra is an artistic research project that weaves together a plurality of listening experiences from Sápmi. It consists in an audio-anthology narrated through diverse voices of Sámi artists and researchers, along with other-than-human beings co-existing in the northernmost fringes of Europe. Product of a broader study aimed at exploring Sámi acoustemologies, its contents and structure have been co-designed with local communities for the return of soundscapes and related narratives to the land they ancestrally belong to. Adopting Indigenous storytelling, joik performances and soundscape composition as preferred media, the audio-anthology explores sonic connections with the land, as well as addresses the profound consequences of colonial extractivism and climate change on the delicate biocultural soundscapes of the Arctic.
In presenting the methodologies collaboratively adopted from the co-designing to the dialogic recording, cataloguing, and dissemination of materials, this paper seeks to address key research questions: who holds the right to collect and archive soundscapes? For whom is the recorded soundscape collected? To whom is it relevant as collectible and archivable subject? Additionally, the paper examines how lands and local communities are represented through the archive and explores the leading role of local knowledge in the development of sustainable approaches to the collection and archival of soundscapes.

Introduction ……………………………………………………………………… 3 1. Theory and Concepts……………………………………………………………4 1.1. Sensory anthropology ……………………………………………………………… 4 1.2. Soundscapes…………………………………………………………………………6 2. Auditory Dichotomies: Silence & Noise ……………………………………… 7 2.1. Sound of Silence…………………………………………………………………… 7 2.2. Matter of Noise …………………………………………………………………… 8 3. Auditory Culture: Library………………………………………………………9 4. Methodology……………………………………………………………………11 4.1. Research Design ……………………………………………………………………12 4.2. Data Collection …………………………………………………………………… 12 4.3. Data Analysis ………………………………………………………………………13 4.4. Ethical Considerations & Limitations …………………………………………… 14 5. Findings ………………………………………………………………………14 5.1. Cultural Relativism in Sound Perception …………………………………………17 5.2. The Entitlement of Quietness …………………………………………………… 19 5.3. Against 'Sound Out of Place' …………………………………………………… 21 6. Conclusion …………………………………………………………………… 21 6.1. Reflexivity …………………………………………………………………………22 6.2. Recommendation for future research …………………………………………… 22

ción y uso en los archivos, considerando lineamientos enmarcados en la Ley General de Archivos (LGA-Mx) y los resultados de un estudio realizado con una muestra de 30 instituciones públicas de los tres niveles de gobierno en San Luis Potosí (México). Palabras clave: TIC, gestión documental, digitalización, automatización, preservación digital.

Il est recent que les ethnologues se preoccupent de la sauvegarde des sources qu'ils ont produites sur le terrain mais Christian Bromberger a choisi de deposer l'ensemble des sources de sa recherche dans un centre d'archives. Dans le cadre d'un ouvrage en hommage a cet ethnologue, ce chapitre permet de reperer les centres de ressources ou les archives qu'il a constitue sur le terrain ont ete deposees.

Au debut des annees 1990, les archives des chercheurs en sciences humaines et sociales sont au centre de multiples interets. C’est aussi a cette periode que les questions d’ethique que pose le traitement de ces archives au moment de leur depot commencent a se preciser. Ils s’appuient sur des retours d’experiences, en particulier ceux que partage avec d’autres archivistes Des chercheurs et des archivistes travaillent ensemble pour proposer de bonnes pratiques communes pour les centres de ressources, avec le soutien de la tres grande Infrastructure de recherche (TGIR) Huma-Num . Ce texte s’appuie sur ces travaux, ces echanges professionnels et sur l'experience concrete d’une phonotheque de recherche a la Maison mediterraneenne des sciences de l’homme (MMSH), avec un focus sur la facon dont ete gerees les questions juridiques et ethiques qui se sont posees pour la diffusion des donnees de la recherche et sur l’attitude des chercheurs vis a vis du depot (ou pas) de leurs enquetes de...

Quand le renard raconte ses histoires au monde. La naissance du Portail du Patrimoine Oral, catalogue collectif d'archives sonores et audiovisuelles http://www.portaildupatrimoineoral.org Véronique Ginouvès Maison méditerranéenne des sciences de l'homme-Phonothèque Le patrimoine culturel immatériel. Premières expériences en France Babel n° 1034 Edition Internationale de l'imaginaire pages 107 à 128 Un paysan de Curgy, en Bourgogne, imite le chant du rossignol 1 ; « Toutig ma bihanig... » fredonne une maman à l'oreille de son bébé 2 ; un habitant d'Aureille, dans les Alpilles, décrit la transformation des olives et en nomme les différentes variétés 3 ; dans le Rouergue, un homme raconte la manière dont il a appris les chants de tradition orale dans son village 4 ... Certains savoirs se passent de l'écrit et ne sont transmis que par le bouche à oreille. Le magnétophone ou la caméra viennent parfois capturer ces paroles, à l'initiative de passionnés de la transmission orale qui enregistrent ou filment sur le terrain. Des chercheurs en sciences humaines et sociales (anthropologues, sociologues, linguistes, historiens, ethnomusicologues...), ou des militants associatifs ont ainsi produit 5 un nombre d'heures considérable depuis qu'existent les outils permettant l'enregistrement de l'oral. Mais pendant longtemps, il a été quasiment impossible d'entendre ces voix. Elles étaient au mieux transcrites, très souvent difficiles à localiser et leur conservation demeurait précaire. A la toute fin du 20e siècle, l'émergence du numérique et du réseau Internet ont bouleversé cet accès confidentiel. Ainsi, depuis quelques temps, les enregistrements (ré)apparaissent sur le réseau. Mais le repérage de ces voix enregistrées au plus profond des territoires demeure difficile car elles sont éparpillées au sein d'innombrables collections, qu'elles appartiennent à des particuliers ou des centres d'archives. Le portail du patrimoine oral offre ainsi une occasion unique de puiser dans la diversité des archives sonores, d'en faciliter l'accès et de les ramener à leurs finalités premières, celles de venir enrichir ce que l'on appelle le « bien commun ». Des archives vivantes qui participent à la construction du bien commun

Les phonothèques comme outil de transmission du savoir en sciences de l'homme : l'exemple de la Maison Méditerranéenne des Sciences Humaines et Sociales Corinne Cassé, ethnologue-Véronique Ginouvès, documentaliste CNRS Bibliographie  Bonnemason (Bénédicte), Ginouvès (Véronique), Pérennou (Véronique), Guide d'analyse documentaire du son inédit pour la mise en place de banques de données, Paris : Parthenay, AFAS-FAMDT, 2001.

Cooperación en investigación para dar cuenta de la realidad y de las posibilidades de intervención sobre la misma. Aporte de elementos teórico-prácticos para el desarrollo de repositorios especializados en Humanidades y Educación, en las unidades académicas que integran la ANFHE en el área geográfica del NEA.

In response to the proposal of digitizing the entire back-run of several European audio archives, many research projects have been carried out in order to discover the technical issues involved in making prestigious audio documents digitally available, which are related to the A/D transfer process and supervised metadata extraction. This article gives an innovative approach to metadata extraction from such a complex source material. This article also describes the protocols defined, the processes undertaken, the results ascertained from several audio documents preservation projects and the techniques used. In addition, a number of recommendations are given for the re-recording process, aimed at minimizing the information loss and to automatically measure the unintentional alterations introduced by the A/D equipment.

Los institutos y centros de investigación generan una gran cantidad de documentos sonoros de origen digital como resultado de proyectos de investigación en ciencias sociales y humanidades. La acumulación de estos documentos digitales es un problema porque se carece de herramientas de preservación y el riesgo de pérdida es alto. Como una alternativa para preservar este tipo de documentos se presentan los alcances y funcionalidades de Telemeta, gestor de contenidos, para la preservación de contenidos sonoros.