Mechanical Recording Workshop: Operatic voice study

Analyses of the mediated nature of recordings have traditionally lingered at the margins of the discussion around historical performance practices. In recent times, however, an interest in mediated processes has gained considerable traction (Katz, 2010, Taylor, Katz & Grajeda, 2012, McCracken, 2015) also supported by the work of the AHRC-funded research network ‘Redefining Early Recordings as Sources for Performance Practice and History’ (2021-2023) and the Early Recordings Association, both co-led by Eva Moreda Rodríguez and Inja Stanović. Building on this research, Mechanical Recording Workshop: Operatic voice study aims to explore interactions between singing and mechanical technologies, focusing on the production of various types of wax cylinders and 10-inch discs. 

Musicologists, academics, musicians, collectors, enthusiasts, early career researchers, and PhD students are warmly invited to share their research on a range of topics including, but not limited to:

• Recording process and performance
• Historical recording technologies and voice
• Relationships between recorded and live performance
• Application of research in performance
• Embodiment, analysis and early recording technologies.

As part of the two-day event, we will run a mechanical workshop with professional opera singers. By placing singers in front of the recording horn, we will observe their reactions and adaptations to the playback in terms of the quality of their vocal production, legato, portamento, dynamics and tempo variation.

How to submit

Abstracts of maximum 250 words for 20-minute papers, 30-minute lecture recitals and 5-minute snapshots, and short biographies of 120 words should be sent to Barbara Gentili at b.gentili@surrey.ac.uk and Inja Stanović at i.stanovic@surrey.ac.uk 

Abstracts must include your institutional affiliation and contact details.

• Submission deadline: 15 May 2024
• Decisions will be communicated: by 15 June 2024.