Early Recordings Association (ERA) Conference 2026

Friday, 19th June

Concert Hall, Gilbert Scott Building (or "Main Building"), Gilmorehill campus, University of Glasgow

8:30 – 9:00. Registration

9:00-9:15 Welcome

9:15-10:45 Recording Music in Ottoman and Turkish Contexts (chair: Dr. Nikos Ordoulidis)

• Eray Cinpir: When the Record Became the Master: Early Sound Recording and the Transformation of Meşk
• Canberk Duman: Listening Back at the Edges of the Archive: Béla Bartók’s 1936 Anatolian Wax Cylinder Recordings as Obscure and Underrepresented Sonic Archives

• Dr. Bashir Saade: Music Recordings That Tell a Story: Late Ottoman Transformation in Knowledge Transmission

   

  10:45-11:15 Tea and coffee

11:15-13:15 Critical Perspectives on Collecting and Archiving (chair: Dr. Elodie Roy)

• Dr. Simon Crab: Early Ethnographic Recordings and the Parisian Musical Avant-Garde
• Dr. Sarah Fuchs: An opera queen avant la lettre
• Nam Huh: Extractive Ears and Archival Refusal: De-linking Colonial Sonic Legacies through Bani Haykal’s Counter-Archival Practice

• Dr. August Rabe: Coincidences and Personal Encounters: The Earliest Recordings of the Vienna Phonogram Archive amid a Web of Ambitions

   

13:15-2:30 Lunch 

2:30-4:15 Problematising Performance Practices (chair: Dr. Inja Stanović)

• Jorge Gonçalves: Unheard Legacies of Nineteenth-Century Pianism: Early Recordings and the Performance of Chopin’s Nocturnes
• Dr. László Stachó: Multiple Modernisms: The Mid-20th Century Shift in Western Classical and Afro-American Performance Traditions

• Dr. Fatima Volkoviskii: Border Crossings: Mexican Singers' Performance Practices Recorded in the Early 20th Century

   

4:15-5:00 Move to the Advanced Research Centre (237C) + Tea and coffee 

5:00-7:00 Roundtable: Women in Early Recorded Sound: Performance, Archives, Technologies* (chair:  Prof. Eva Moreda Rodriguez)

Participants: Dr. Barbara Gentili (Surrey University), Dr. Elodie A. Roy (Durham University), Dr. Marie Thompson (The Open University).

*Please note that this event will take place in the Advanced Research Centre (ARC), room 237C.

Saturday, 20th June

Concert Hall, Gilbert Scott Building (or "Main Building"), Gilmorehill campus, University of Glasgow

9:30-11:00 Recording the Stage (chair: Dr. Barbara Gentili)

• Dr. Laura Touriñán Morandeira: The Early Recordings of Antonia Mercé “La Argentina”: Hispanic Exoticism in Castanet Solos
• Dr. Orestis Papaioannou: Theory and Performance of Song in Early Brechtian Marxist Theatre: Aufstieg und Fall der Stadt Mahagonny (1929)

• Dr. Austin Oting Har: From Documentation to Expansion: Early Recordings of Japanese Noh Theatre (1907-1969)

   

11:00-11:30 - Tea and coffee

11:30 - 13:00 Recorded sound, mobilities and commerce in Eastern Europe (chair: Dr. Richard Gillies)

• Dr. Warwick Edwards: Early Recordings in the Archive of the Institute of Ethnography and Folklore (Bucharest)
• Dr. Marija Maglov: Mediating Patriotism and Capitalism: Reading Records Catalogue by Mita Đ. Palić
• Filip Šír: Between Bohemia, USA, and Brazil: The Early Career of Fred Figner

13:00-14:15 - Lunch 

14:15-16:15 Beyond Music: Other Uses of Early Recording Technologies (chair: Prof. Eva Moreda Rodriguez)

• Dr. YuHao Chen: From Wax to Word: Early Phonographs for Prayer
• Dr. Richard Louis Gillies: 'A Terrible Nightmare of Sad Russian Reality': Dmitri Bogemsky and the Killing of Pyotr Stolypin
• Dr. Aleksander Kolkowski: Ceramic Discs: Recording Sound Grooves on Clay

• Martin Mejzr: Recordings That Heal the Soul: Mechanical Suggestion and the Therapeutic Uses of Early Recorded Sound

   

16:15 Close

Women in Early Recorded Sound: Performance, Archives, Technologies

This roundtable brings together historians and theorists of early and contemporary media to examine the roles of women in the early history of recorded sound. Exploring how gender shaped sound cultures across domestic, performing and commercial contexts, it considers the emergence of gendered soundscapes in the home, as well as the often invisible forms of labour performed by women within the early recording industry. The roundtable will also address questions of mediation and voice, including the inclusion and exclusion of women in recordings and in broader representations of early recorded sound. Finally, it will engage with archival presence and absence, reflecting on how women are represented in historical records, which narratives have been constructed from this evidence, and how alternative accounts might be recovered by present-day research.

Panellists: Dr. Barbara Gentili (Surrey University), Dr. Elodie A. Roy (Durham University), Dr. Marie Thompson (The Open University). Chaired by Prof. Eva Moreda Rodriguez (University of Glasgow)

*Please note that this event will take place in the Advanced Research Centre (ARC), room 237C.

Friday, 19 June

Recording music in Turkey 

Eray Cinpir: When the Record Became the Master: Early Sound Recording and the Transformation of Meşk

This paper examines how early sound recording technologies reshaped musical authority and pedagogy in late Ottoman makam music by intervening in the meşk system, a tradition based on face-to-face master–apprentice transmission. Rather than approaching recordings as archival documents, I argue that recorded performances functioned as pedagogical surrogates that partially displaced the master’s control over repetition, access, and authority. In the traditional meşk system, musical knowledge was transmitted through imitation, repetition, and moral commitment within a strictly regulated master–apprentice relationship. Learning required physical proximity, long-term dedication, and acceptance by the master, who exercised strong selectivity over whom to teach and what repertoire to transmit. The emergence of sound recording disrupted these conditions by making performances repeatable, portable, and accessible beyond personal networks. Drawing on early Ottoman shellac recordings, contemporary writings by figures such as Rauf Yekta Bey, and memoir-based accounts, the paper demonstrates how recordings enabled students and amateurs to repeatedly listen to free vocal forms such as gazel and taksim—forms that previously existed only as momentary, unreproducible performances. Recordings thus introduced a new mode of learning that bypassed the ethical and spatial limits of meşk without fully replacing it. By focusing on pedagogy rather than repertoire or aesthetics, this paper contributes to rethinking early recording histories through a non-Eurocentric case study, showing how recording technology functioned as a historical agent that reconfigured musical authority while remaining embedded within existing oral traditions.

Canberk Duman: Listening Back at the Edges of the Archive:
Béla Bartók’s 1936 Anatolian Wax Cylinder Recordings as Obscure and Underrepresented Sonic Archives

This paper focuses on the core segment of my continuing PhD study into Béla Bartók’s 1936 wax cylinder recordings made in Anatolia that have remained in obscurity in academic discussion, rather overlooked in studies about Bartók and wider narratives on early fieldwork sound preservation. Though his exploration of folk melodies is well known, these specific outputs from Turkey, created amid difficult technical circumstances, rarely attract close listening or historical framing. Found within my dissertation, these audio documents serve as a core set of materials for exploring qualities such as heterophony, layered variations, shifts in tone colour, fluid timing, and structural phrasing as they exist in the actual recordings themselves. Questions on methodology take center stage here: what aspects truly lend themselves to written representation when working with wax recordings, where classical systems fall short, and also how distortions from playback, contexts of performance, and acoustic-era limitations influence interpretive results. Though often overlooked, Bartók’s Anatolian recordings take on new significance when placed alongside early sound capture methods, as they in a way document the shifting scholarly attention. Because focus has long rested on his work in Central and Eastern Europe, the Anatolian material slips beneath notice. Yet examining them adds a whole new perspective on musical perception, and once viewed through a wider lens, they challenge the definition of "what counts as central or marginal". This shift adds data to the ongoing discourse and, at the same time, alters perspective. Such reconsideration fits within broader efforts to expand the boundaries of archival value. Forgotten corners gain significance once viewed differently. Overall, this approach makes a case for revisiting these recordings through methods shaped by their historical and technological contexts. Such attention deepens our understanding of Bartók’s fieldwork while demonstrating how early audio documents can continue to function as active and meaningful sources within contemporary musicological research.

Dr. Bashir Saade: Music Recordings That Tell a Story: Late Ottoman Transformation in Knowledge Transmission

This proposal seeks to present the proceeds of an RSE-funded research project that aimed to digitise, listen to, and reproduce musically the work of Amin Buzari (1855–1928), a nay player of late 19th- and early 20th-century Egypt, who marked the recording industry of his time, in order to make informed claims about ‘intangible’ knowledge transmission in the colonial and modern age. A very unique hybridisation of Western and local styles of music and artistic production developed during that period in British- and French-occupied Egypt, which was still part of the Ottoman Empire. The early 20th century witnessed an explosion of disc recordings aimed at a rising Cairo- and Alexandria-based middle class, following late 19th-century national and modernising transformations in Ottoman Egypt during the khedival period. Thanks to companies such as Gramophone, Polyphone, Odeon, and Baidaphon, we have a precious trace of how this music was played—a style that has mostly disappeared today. At the heart of this project is the exploration of processes of knowledge transmission. What kind of knowledge is transmitted? Is it a particular understanding of the maqam system, the modal melodic structure so central to what becomes labelled as Arabic music? What aspects of maqam is Buzari showcasing in his recordings, and why is it so different from how maqams are approached in the later half of the twentieth century? What kinds of playing techniques does Buzari develop on the nay? What are the cultural precursors of this singularity in time, fixated by recording technology? Most importantly, to what extent does the very structure and presence of recording technology affect and shape the style of playing? Finally, how does sound affect culture, and how does it reverberate in our understanding of Ottoman and/or Arabic ‘tradition’, considering changing recording technologies?

Critical Perspectives on Collecting and Archiving  

Dr. Simon Crab: Early Ethnographic Recordings and the Parisian Musical Avant-Garde

This paper examines the role of early ethnographic recordings in the development of twentieth-century French music and the overlooked contributions of those involved. In particular, it presents a case study of the life and work of Mady Sauvageot, also known as Mady Humbert Lavergne (1898–1987), focusing on her role in the emergence of ethnomusicology as a scientific discipline and her influence on modern French music during the interwar period. The study explores the motivations behind the establishment of several European sound archives, with particular attention to the Institut de Phonétique – Musée de la Parole et du Geste, founded in Paris in 1911, and the Phonogramm-Archiv, established in Berlin in 1900. Mady Sauvageot was a pioneering French ethnomusicologist, composer, ondiste, writer, singer, archivist, and broadcaster, active in the Parisian avant-garde and electronic musical world from the mid-1920s until the late 1950s. While working at the Institut de Phonétique, she made 346 wax-cylinder recordings at the Exposition Coloniale in Paris in 1931. Here, Sauvageot formalised ethnological methods of audio recording and cataloguing, but also opened up the material to other musicians and composers. What was intended as an imperial ‘sound library’ became, under Sauvageot’s hands, source material for her own electronic musical experiments (Voix lointaines performances, 1928–1938) and a source of inspiration for a generation of French composers: Pierre Boulez, Olivier Messiaen, André Jolivet, and others of the Parisian musical avant-garde.

Dr. Sarah Fuchs: An opera queen avant la lettre

Singer and actor Guy Ferrant (1898–1954) is today little more than a footnote in French music history, but he was well known in his own lifetime, mainly for his personal collection of rare shellac discs and even rarer wax cylinders, which in 1937 he publicly undertook to leave to the Musée de la Parole upon his death. Overwhelmingly orientated around early-twentieth-century operatic voices, Ferrant’s collection is a cornerstone of the national sound-recording patrimony. Yet despite its obvious significance to histories of sound recording, singing, and sonic heritage preservation, the fact of Ferrant’s legacy has been all but forgotten. Why? One reason, surely, is that Ferrant’s collection is nowhere near as large as it once was. When he died in 1954, the Musée de la Parole was in a state of decline such that it could not accept Ferrant’s bequest in its entirety; it was decided that only about half of Ferrant’s recordings would be acquisitioned and the others sold. Another reason is that Ferrant’s collection is no longer organised according to his highly idiosyncratic cataloguing method, the only remnants of which survive on his record sleeves, evidence of a private value-system that is tantalisingly lost. Yet another reason—not unrelated, perhaps—has (or had) to do with Ferrant’s homosexuality, which, if no longer illegal in early to mid-twentieth-century France, was still stigmatised, especially during and immediately after WWII. The nature of his relationship with the voices he loved was even more complex and hidden than that with his longtime partner Reynaldo Hahn: he is still occasionally described as the latter’s ‘secretary’. In this paper, I take some of the first steps towards telling the intimate story of one the twentieth century’s most significant—but still largely unknown—record collectors.

Nam Huh: Extractive Ears and Archival Refusal: De-linking Colonial Sonic Legacies through Bani Haykal’s Counter-Archival Practice

This paper re-evaluates the "unheard legacies" of early sound recordings in East and Southeast Asia by framing them not as acts of cultural preservation, but as sites of sonic extraction. Focusing on late 19th- and early 20th-century wax cylinder collections, most notably those produced during Dutch and British ethnographic expeditions, I argue that early recording technologies functioned as "imperial debris" (Ann Stoler). These devices were deployed to capture and fix fluid, indigenous repertoires (Diana Taylor) into a static, colonial archive, effectively enacting a "necropolitics" (Achille Mbembe) that rendered living traditions as dead, taxonomical data for Western musicological consumption. Building on this critique, the paper explores how contemporary post-internet artistic practices offer a path toward de-linking from these extractive histories. I use the work of Singapore-based artist Bani Haykal as a primary case study to examine the concept of archival refusal. Through his use of sonic fiction (Kodwo Eshun) and an attention to the "quiet registers" of the archive (Tina Campt), Haykal’s interventions move beyond the traditional archival impulse to "restore" or "clean" historical audio. Instead, his work utilizes intentional digital contamination, such as glitch, feedback, and hardware hacking, to obscure the original "subject" from the voyeuristic colonial ear. By articulating this shift from archival legibility to minoritarian care, I argue that Haykal’s practice transforms the colonial cylinder from a site of capture into a site of speculative resistance. Ultimately, the paper suggests that rethinking early recording histories requires a move away from the pursuit of "clarity" and "completeness," favoring instead a celebratory embrace of the "contaminated" archive as a space for post-colonial futurity.

Dr. August Rabe: Coincidences and Personal Encounters: The Earliest Recordings of the Vienna Phonogram Archive amid a Web of Ambitions

Scholars have long noted that the first wax cylinder and disc recordings of the Berlin and Vienna phonogram archives were made not by expert sound recordists, but by physicists, anthropologists, missionaries, and colonial officials. Recent case studies document the circumstances and—often cruel and violent—practices of some of these so‑called “collectors” (Kalibani 2026; Hoffmann 2020; Schasiepen 2019). Yet the question remains open as to which institutional arrangements and scholarly and colonial networks in and around the phonogram archives drove the rapid acquisition of material for these newly established collections before the First World War. Letters from the wealthy Austrian physicist and amateur ethnologist Rudolf Trebitsch (Hurch 2009), who produced recordings for the Vienna Phonogram Archive from 1906 onward, reveal precisely how his trips were organized and prepared. In several cases, he planned his journeys despite lacking knowledge of the languages and cultural practices he aimed to document, and he contacted subject experts—often via the Phonogramm Archive—for advice on routes, recording sites, interpreters, and local interlocutors only weeks before making the first on‑site recordings. Beginning with Trebitsch and extending to other actors, this talk examines how recordings promoted as “strict science” (Abraham & von Hornbostel 1904) emerged from coincidences and personal encounters, and how these recordings were embedded in a web of institutional, economic, political, and personal ambitions.

Problematising Performance Practices  

Jorge Gonçalves: Unheard Legacies of Nineteenth-Century Pianism: Early Recordings and the Performance of Chopin’s Nocturnes

This lecture-recital presents findings from Jorge Gonçalves’s doctoral research at the University of Aveiro (Portugal), supervised by António Chagas Rosa and Luca Chiantore, which reconsiders early sound recordings as primary historical sources for nineteenth-century pianistic performance practices. Focusing on Chopin’s Nocturnes, the project explores how interpretative approaches documented in the earliest piano recordings challenge later score-centred and standardised performance traditions. Early recordings made in the first decades of the twentieth century by pianists such as Raoul Koczalski, Raoul Pugno, Ignacy Friedman, Ignacy Paderewski, and Frederic Lamond reveal interpretative practices rooted in nineteenth-century pianism. These include hand asynchrony, unnotated arpeggiation, flexible tempo, rhythmic freedom, historically understood tempo rubato, improvised cadenzas at fermatas, the insertion of preludes and interludes, melodic variation in repeated material, and alternative endings. While such features were long dismissed as idiosyncratic, unprofessional, or in poor taste, this research approaches them instead as valuable documents of historical performance practice preserved through early recording technologies. Drawing on pedagogical treatises, specialised literature, and close analytical listening to early recordings, the lecture-recital argues for the reassessment of these “unheard legacies” as legitimate and creative interpretative models. By treating early recordings not merely as imperfect sonic artefacts but as carriers of embodied musical knowledge, the project contributes to broader discussions on how recorded sound reshapes our understanding of musical history. Following a brief contextual presentation outlining the research framework and recorded sources, the recital will feature live performances of four Chopin Nocturnes. These performances consciously apply the interpretative practices documented in early recordings, offering a historically informed yet creatively reimagined encounter with Chopin’s music.

Dr. László Stachó: Multiple Modernisms: The Mid-20th Century Shift in Western Classical and Afro-American Performance Traditions

It is well known that the 1950s were a watershed in the history of 20th-century performance. I aim to analyse from a music-psychological perspective how the production and perception of time changed in performance after 1950, and to outline and illustrate this both in Western classical music and selected popular genres, showing the gradual transition from pre-modernist to modernist performance. The subjective experience of time has been claimed by several theorists to be a significant distinguishing factor between both musical styles and performance approaches within the Western tradition. With regard to performance, Nicholas Cook distinguishes between music taking place in time and music that is made of time (‘locatedness-in-time’ vs. ‘of-timeness’). Cognitive cross-mapping between time and space enables performers and listeners to conceptualise musical processes architecturally, in timeless spatial-structural terms. The iconicity inherent in this approach corresponds with the subjective experience of ‘observing’ the musical process as opposed to ‘enacting’ it which, in turn, is linked to discursivity and rhetoric. Comparative analyses of 20th-century sound recordings reveal that the mainstream of post-WW2 performance practice shifted from ‘rhetorical’ to ‘structuralist’ approaches, leading to a perception of music as a spatially extended object. This view fostered a style that valued structural logic – especially metrical logic and precision –, clarity, technical faultlessness, and economy. By leveraging the possibilities of convergence between traditional music history and cognitive musicology, I conducted a comparative investigation of performance styles with the aim of tracing this gradual transition. Through close listening, I examined performances by key heirs of the Lisztian tradition – Ernő Dohnányi and Béla Bartók – and the trend-setter Igor Stravinsky, among others, and will analyse markers of event-based thinking vs. ‘locatedness-in-time’ in performance, comparing this trajectory with the development of jazz and blues performance practices across the 20th century, including musicians such as Jelly Roll Morton, George Gershwin, and Walter Roland.

Dr. Fatima Volkoviskii: Border Crossings: Mexican Singers' Performance Practices Recorded in the Early 20th Century

During the early 1900s, a significant number of recordings by Mexican performers and composers were produced mainly in the United States, but also in Mexico. This indicates a thriving demand for music that catered to audiences on both sides of the border and suggests the existence of performance practices of a particular nature during this period. Historical sources demonstrate that throughout the 1910s and 1920s, prior to the advent of electrical recording, labels such as Victor, Edison, Brunswick, and Okeh were hiring Mexican artists and recording their music mainly in the United States. The most prevalent genres associated with this activity appear to have been popular music or “light” salon compositions, as well as traditional or folk music and arrangements. To a lesser degree, we also encounter a variety of instrumental arrangements and Mexican singers recording opera, art song, and zarzuela. Musicological research on Mexican composers from this period has mostly focused on well-known figures such as Carlos Chávez, Silvestre Revueltas, José Rolón, and Manuel M. Ponce, whose work is primarily associated with symphonic music within a nationalist idiom. However, the earliest recordings do not reflect the output of these composers and, by contrast, reveal that many lesser-known figures—such as Juventino Rosas, Alfonso Esparza Oteo, and Miguel Lerdo de Tejada—were recorded hundreds of times. This discrepancy indicates a significant lack of research on early Mexican recordings and, to begin addressing this largely uncharted territory, this paper proposes to focus on specific performance practices of Mexican singers within the pre-electrical recording era. What can these recordings tell us about Mexican singers operating across national borders? What do their singing styles and recorded repertories reveal? Given the large number of surviving recordings, this body of material constitutes an important chapter in the history of Mexican music, and one that has yet to be fully written.

Saturday, 20 June

Recording the Stage

Dr. Laura Touriñán Morandeira: The Early Recordings of Antonia Mercé “La Argentina”: Hispanic Exoticism in Castanet Solos

Antonia Mercé “La Argentina” (1890–1936) was a choreographer, dancer, businesswoman, and castanet player with an international career. Her artistic work was representative of the imagery of “Spanishness” abroad and established her as a leading figure in “stylized Spanish dance” during the Silver Age (1868–1936). Numerous sources attest to her international impact. Newspapers and programme notes document her tours across Europe, Asia, and the Americas, both as a solo performer and with her company, Ballets Espagnols (1927–1929). Film sources further reveal her international media presence, while the commercialisation of her scores in Spain, Argentina, and North America demonstrates patterns of both public and private performance practices and cultural consumption. Her discography for the Odeon and Parlophone labels must also be considered, as it complements these practices during the gramophone era, both for domestic listening and for dancing in cafés. This paper offers a case study of the early recordings of “La Argentina” as a solo castanet player, accompanied by orchestra or guitar, performing a specific repertoire associated with “Spanish culture” abroad. To this end, a database has been created through the compilation of historical record catalogues, enabling subsequent data analysis to support the following arguments:

1. The functioning of the recording industry through the Odeon and Parlophone companies between 1927—the date of Mercé’s earliest recording—and 1938—the date of the latest recording, marketed posthumously.
2. Her international impact, analysed through geographical mapping: recordings made in Spain, France, and Germany, and distributed in Argentina and other countries, reveal practices of semi-private (cafés) and private (domestic) musical consumption during the gramophone boom.
3. The construction of Hispanic exoticism shaped by “La Argentina” through a specific repertoire, including works by major composers of “classical” music (such as Granados, Falla, and Albéniz), as well as figures associated with popular and mass music (such as Valverde) and Spanish folklore traditions.

Dr. Orestis Papaioannou: Theory and Performance of Song in Early Brechtian Marxist Theatre: Aufstieg und Fall der Stadt Mahagonny (1929)

Between 1926 and 1930, Bertolt Brecht made sustained attempts to systematise his Marxist concept of epic theatre—an innovative dramatic form intended to discourage empathy and instead provoke a critical, didactic experience for the spectators. Aufstieg und Fall der Stadt Mahagonny represents Brecht’s first systematic attempt to apply these strategies within an operatic context. He described the work as a ‘formal experiment’ and ran counter to most prevailing operatic aesthetics of the time, including conventional approaches to singing. Instead of operatic arias, Weill and Brecht developed the idea of short vocal compositions that recontextualised the American popular song, creating confrontations between ‘lower’ and ‘higher’ art, as well as between almost aggressive texts and singable melodies. Possible drawing on influences from chanson singers such as Yvette Guilbert and Aristide Bruant, these songs mainly cultivated a non-lyrical, speech-like vocal approach. When lyrical singing was employed, it was intended to be deliberate and conspicuous, as it symbolised the pleasures of capitalism. Through these strategies, song became a critical device for exposing social behaviour through irony and detachment, while foregrounding text over music. After establishing a practice-oriented, descriptive account of Brecht’s philosophy and technique of song singing within epic theatre, the key conclusions are employed as a methodological framework for the interpretative analysis of four comparative case-study recordings by Lotte Lenya (Homochord 1930; Electrola 1932), widely regarded as a paradigmatic ‘Brechtian’ performer. Presented in tabular form, both descriptive commentary and typographic emphasis are used to mark moments in which vocal enunciation moves fluidly within the hybrid spectrum between speech and song, resists melodic continuity, foregrounds speech-like articulation, employs lyrical singing ironically, and produces deliberate tension between speech and song—thus directly connecting performance practice to Brecht’s and Weill’s contemporaneous theoretical statements.

Dr. Austin Oting Har: From Documentation to Expansion: Early Recordings of Japanese Noh Theatre (1907-1969)

This paper considers the cultural and societal significance of early recordings of Japanese Noh theatre through the shift from the historical documentation of intangible cultural heritage (ICH) to the artistic expansion of its traditional performance practices. As a 650+ year-old UNESCO-protected “Masterpiece of the Oral and Intangible Heritage of Humanity”, I draw upon archival evidence and discographic releases from 1907–1969, with a focus on recordings made by cultural bearers from the Kanze school, the largest and oldest of the five Noh schools. The aims are twofold. Firstly, I examine the interactions of Noh performers (cultural bearers) with early recording technologies, through their collaborations with sound engineers, as tools for ICH documentation in both commercial and academic contexts. Simultaneously, I address the gap between the cultural and performance contexts of Noh plays that cannot be captured in ICH recordings. Secondly, I analyse the performance techniques of classical Noh plays preserved in these early recordings and present a timeline of the shift from ICH documentation towards artistic expansion, against the backdrop of changing perceptions of Western and Japanese technologies. My central argument is that, while ICH documentation of Noh was led by the Kanze school—the descendants of Zeami Motokiyo, the founder of Noh as it is practiced today—from the 1950s onwards, a rift emerged within the school regarding attitudes toward tradition and innovation. This shift was linked to the possibilities offered by tape music and was embodied in the Kanze brothers’ (Hideo, Hisao, and Shizuo) collaborations with composers Toshiro Mayuzumi and Jōji Yuasa in creating electroacoustic adaptations of the classic Noh play Aoi no Ue in 1957 and 1961. I argue that Kanze Hideo, by performing Noh songs (utai) in both Kita and Kanze school styles, marked a significant break from the Kanze school’s practice of ICH documentation, moving toward artistic expansion.

Recorded sound, mobilities and commerce in Eastern Europe

Dr. Warwick Edwards: Early Recordings in the Archive of the Institute of Ethnography and Folklore (Bucharest)

The collection of folk-music recordings in the Archive of the Bucharest Institute of Ethnography and Folklore is among the richest in the world. Among its holdings are some 15,000 phonogram cylinders with field recordings made in Romania principally by Constantin Brăiloiu and his followers between the late 1920s and the outbreak of World War II. In this illustrated presentation I attempt a short account of the origins of the collection, the various motivations, assumptions and methodologies of the collectors, and the mechanical constraints under which they worked. I then consider the uses to which the recordings have been put subsequently by both composers and researchers within and beyond Romania’s borders, rehearsing something of the medium’s limitations and of the complex issues arising from radically changing political contexts. Finally, I offer some thoughts on the prospects for this priceless, but largely unheard legacy ever reaching a wider audience.

Dr. Marija Maglov: Mediating Patriotism and Capitalism: Reading Records Catalogue by Mita Đ. Palić

The National Library of Serbia keeps a catalogue of records dated in 1913 by a seller, Mita Đ. Palić, based in Pančevo (at the time in Austria-Hungary), a city about 20 km north-east from Serbia’s capital, Belgrade. In 1913, Serbia was embroiled in the Second Balkan War, following the First Balkan War that happened a year prior. With a large Serbian population, the sentiment of national pride was strong in the city, which will become part of the Kingdom of Serbia, Croatia, and Slovenia by the end of that decade. Palić started selling gramophones and gramophone records in 1907, specifically targeting Serbian audiences and marketing his store as the biggest that offered “Serbian records”. The reading of his catalogue, in terms of both the language used in introductory notes and records offered on the following pages, clarifies what was considered representative of Serbian culture at the time. While calling the customers to buy from him and not from “strangers”, Palić at the same time advertises his records as coming from the best companies around the world. This was, of course, the only option for getting records with a local repertoire, as the first domestic label would be started more than a decade later. Palić was thus necessarily a mediator in a chain of global production and local consumption of records, formed from the early days of the global music industry’s market establishment. The aim of this paper is to question what can be read from a document on the activities of such a mediator. In other words, what knowledge on music history and culture and on early recording history can we gain if we choose a record catalogue as a starting point of the inquiry, instead of records themselves, known repertoires, or performers? 

Filip Šír: Between Bohemia, USA, and Brazil: The Early Career of Fred Figner

Fred Figner (1866–1947), born Bedrich Figner in Milevsko (Mühlhausen in Bohemia, then part of the Austro-Hungarian Empire), is best known as a pioneer of the sound recording industry in South America. His company, Casa Edison in Rio de Janeiro, played a key role in the early recording and distribution of Brazilian popular music. He is also associated with the Odeon label and is often mentioned as an early innovator of double-sided disc production. This paper focuses on a lesser-known part of Figner’s life: his early years in Central Europe and the United States, before his well-known activities in Brazil and Argentina. Using archival sources from the Czech lands, U.S. immigration and naturalisation records, and early documentation of Edison phonograph exhibitions, the paper reconstructs Figner’s path from Milevsko to the United States and his first steps in the business of sound technologies. The paper shows how Figner worked as a travelling agent and presenter of Edison’s phonograph and how his activities connected Europe, the United States, and South America. By focusing on Figner’s early career, the paper offers a broader and more global view of early recording history and challenges traditional narratives centred mainly on Western Europe and the United States.

Beyond Music: Other Uses of Early Recording Technologies

Dr. YuHao Chen: From Wax to Word: Early Phonographs for Prayer

This paper examines debates surrounding the evangelical use of the phonograph in Protestant China at the turn of the twentieth century. Driven by the desire to bypass Chinese characters while transmitting the Bible to illiterate populations, some missionaries began viewing the phonograph favorably as a surrogate preacher. Drawing on scholarship at the intersection of religious and media studies (Martin 2014; Blanton 2015; Supp-Montgomerie 2021; Klotz 2025), I show the phonograph as linked to the question of conversion within expanding overseas missions. While previous phonograph studies have largely focused on secular contexts, I highlight an overlooked religiosity within early discourses of sound recording technologies. From Thomas Edison’s short-lived idea of the praying doll in the late 1880s to discussions about the phonograph’s utility for large-scale overseas dissemination of the scriptures, the talking machine evoked multiple Christian aspirations. At the same time, the phonograph posed a conundrum for missionaries eager to broadcast Christian literature in China due to its resemblance to the cylindric Buddhist prayer wheel. By spinning the phonograph through the prism of “automatic religion” (Johnson 2021), I illuminate a perceived incompatibility between Christianity and the “heathen”—as well as a tension between the religious and the mechanistic—within the late nineteenth-century phonographic imaginary. This unease regarding the ambiguous religiosity of modern technologies, I argue, has continued to perpetuate notions about the phonograph as a secular mouthpiece of the West.

Dr. Richard Louis Gillies: 'A Terrible Nightmare of Sad Russian Reality': Dmitri Bogemsky and the Killing of Pyotr Stolypin

This paper centres on the life and career of Dmitri Bogemsky (1878-1931), a charismatic Ukrainian-Jewish comedian from Kherson who started his career in Moscow recording comic sketches onto wax cylinder for the German entrepreneur Richard Jacob (often back-transliterated ‘Yakob’). Bogemsky—whose real name was Dmitri Anisimovich Berkovich—lived at a time of heightened social and political tension, antisemitic pogroms, and increasing censorship in the Romanov Empire set against the apocalyptic fantasies and anxieties of the fin-de-siècle. In his comic sketches, he frequently switched between languages and vernacular dialects to portray his caricatures of German, Russian, and Jewish characters, and to lampoon the public figures of his time.  However, in the wave of repressive measures that followed the 1905 Russian Revolution, Bogemsky was exiled to Chișinău (Moldova) for his satirical anti-establishment sketches and poems. Shortly after Bogemsky’s return from exile (the precise circumstances of which remain unclear), on 18 September 1911 the serving Prime Minister of the Romanov Empire Pyotr Arkadievich Stolypin (1862-1911) was fatally shot by the Ukrainian-Jewish radical Dmitri Bogrov (1887-1911) whilst attending a performance of Rimsky-Korsakov’s opera The Tale of Tsar Sultan at the Kyiv Opera House. Bogemsky appears to have used this as an opportunity to rehabilitate himself with the Tsarist regime by recording an emotional lament in commemoration of Stolypin onto double-sided shellac disc. My paper explores this particular recording, and considers the ways in which Bogemsky’s life and career illuminate how individuals with complex hybrid-identities attempted to navigate the social-cultural framework of imperial society. Drawing on the work of Alf Lüdtke and Michel de Certeau amongst others, I suggest that early recordings such as Bogemsky’s are productive and undervalued resources in the construction of social-cultural histories from below that illuminate the fluidity and complexity of identity in the last decades of the Romanov Empire.

Dr. Aleksander Kolkowski: Ceramic Discs: Recording Sound Grooves on Clay

In 2025, I collaborated with the ceramists Miguel Ángel Fernández (Segovia) and Olalla Lojo (Vigo), with the aim of producing a series of reproducible sound recordings on ceramic plates and discs. Especially prepared raw clay plates were placed on a disc-recording lathe and spiral sound grooves were cut onto their surface. They were then decorated and fired. The ceramic objects that emerged from the oven could then be played on a turntable and as a result, a new form of hybrid media was created where a decorative utilitarian artefact doubles as a sound carrier. Whilst great effort went into creating a clay surface that yielded the least amount of surface noise, it is, nevertheless, an abiding feature of these ceramic records. Physical, analogue sound storage media all posses distinct noise characteristics - the surface noises of cylinders and discs, the hiss of magnetic tape a.o., these noises are inherent to the reproduction. The ceramic records are no exception and have their own noise attributes, largely dependant on the type of clay that is used in their making. This presentation, as well as describing the processes of making the ceramic records and the successes and failures therein, will also consider the role of transient and continuous noise in our appreciation of recordings made on physical media formats, with special regard to early historical examples. I invite the question: “to what extent is the noise produced by the sound-carrier an integral part of the listening experience, and are we losing something in employing excessive noise reduction methods?”

Martin Mejzr: Recordings That Heal the Soul: Mechanical Suggestion and the Therapeutic Uses of Early Recorded Sound

From the turn of the twentieth century onward, modern sound media were imagined not only as tools of musical entertainment or ethnographic research, but also as instruments capable of shaping the mind and improving health. Early sound recording technologies – most notably the phonograph and the gramophone – were mobilised in therapeutic, psychological, and self-improvement contexts situated at the intersection of medicine, psychology, and para-scientific thought. This paper situates these practices within a broader transition from occult and esoteric frameworks around 1900 toward increasingly medicalised and scientifically rationalised conceptions of sound and subjectivity. Hypnosis, autosuggestion, psychophony, and the use of recorded music in medical and surgical settings together formed a heterogeneous field in which recorded sound was understood as a medium acting directly on the human mind, body, and unconscious. The paper examines a range of practices, including suggestive and hypnotic gramophone recordings aimed at regulating behaviour and everyday habits, timed playback of recordings during sleep, and musical accompaniment in clinical environments. Rather than forming a coherent movement or school, these practices circulated through overlapping networks of practitioners, institutions, commercial ventures, and popular media. One well-documented example is Kazimierz Radwan-Pragłowski, whose interwar activities in Central Europe and Scandinavia illustrate how such methods were adapted to local contexts and publicly promoted. By tracing these largely overlooked practices, the paper argues that early recordings played a significant cultural and societal role in shaping modern ideas of psychological treatment, self-improvement, and technological mediation, revealing how early sound media participated in broader negotiations between alternative therapeutic knowledge, medicine, and modernity.

Recording Music in Ottoman and Turkish Context

Eray Cinpir is a PhD candidate at Mimar Sinan Fine Arts University, where his research focuses on Ottoman–Turkish makam music, early sound recording technologies, and the transformation of musical authority within oral transmission systems (meşk). His work combines historical research with performance-based ethnomusicology, examining how recording technologies mediate pedagogy, authority, and continuity in late Ottoman and early Republican music cultures. He has presented his research internationally, including at Turkologentag (University of Vienna, 2023), and has published articles on Ottoman music theory, repertoire, and historical sources in peer-reviewed journals. Alongside his academic work, he is Associate Art Director and a vocal artist at the Republic of Turkey Ministry of Culture and Tourism.

Canberk Duman, born in Izmir, Turkey in 1995, is a composer, theorist, pianist, and musicologist currently pursuing a PhD in Musicology at the University of Bern (SINTA), under the supervision of Prof. Dr. Britta Sweers and Prof. Dr. Thomas Gartmann. He also serves as a doctoral student representative on the SINTA/GSAH Steering Committee (Lenkungsausschuss). His research focuses on early ethnographic sound recordings, with particular emphasis on Béla Bartók’s 1936 Anatolian wax cylinder field recordings, examining questions of transcription, analysis, and historical context. He holds two Master’s degrees in Contemporary Composition and Music Theory from the Zurich University of the Arts (ZHdK). Alongside his academic work, he is active as a composer and piano teacher in Switzerland. His broader research interests include monophony and heterophony, early recording technologies, ethnomusicological fieldwork, and the reception of Anatolian folk music parameters in Western European art music.

Dr. Bashir Saade is an Interdisciplinary Lecturer in Politics and Religion at the University of Stirling. He previously held posts at the University of Edinburgh and at the American University of Beirut. His teaching and research interests are interdisciplinary, intersecting between politics, social theory, and sound studies. He explores contemporary Islamic politics as well as premodern Arabo-Islamic scholarly traditions. Key themes in his research include nationalism, modernity, knowledge transmission, Islam, religion, secularism, technology, and music. His book, Hizbullah and the Politics of Remembrance (Cambridge University Press, 2016) was a study of the media and other cultural production of the party. Bashir is also a multi-instrumentalist musician, focusing on the Arabic Ney and part of the Oxford Maqam ensemble that researches and performs traditional Arabic and Ottoman musical styles especially focusing on the Egyptian repertoire of the Khedival period. He is the recipient of an RSE research grant award that explores colonialism and modernity through early 20th century Egyptian musical recordings.

Critical Perspectives on Collecting and Archiving

Dr. Simon Crab is an academic, researcher, and audiovisual artist. He has been working with digital audio and video since the mid 1980s. He has performed numerous times worldwide over the past 3 decades and has published more than 25 works. He is the author of the online resource for the study of the history of electronic musical instruments “120 years of Electronic Music’ (www.120years.net), and received a PhD for “Instruments of Division: The Role of Audio Technology in the Transition From the Weimar Republic to the Nazi State” (Huddersfield School of Music-CenReNem 2022). He is currently preparing for a PostDoc study on ‘The Irrational Roots of Electronic Music’.

Dr. Sarah Fuchs is a musicologist based at the Royal College of Music, London. She writes mainly about operatic culture, audio-visual media, and archival practices over the past century. Her research has been supported by funding from (among others) the Music & Letters Trust, the British Academy/Leverhulme Trust, and Universities UK International, and her writing has appeared in the Cambridge Opera Journal, Nineteenth-Century Music Review, and several edited collections. Her first monograph, which explores how opera performers, pedagogues, and producers used emerging audio-visual technologies to navigate centre-periphery dynamics in Third-Republic France, is forthcoming. 

Nam Huh is a doctoral researcher at Loughborough University, working on post-internet documentary practices, counter-archives, and minoritarian memory, with a focus on East and Southeast Asian diasporic contexts. Their research combines critical theory with artistic research methods, including exhibition-making, experimental film, sound, and performance. They are a co-creator of the lecture-sound performance Gut Feelings with composer Ewan Knight, which explores embodied listening, involuntary sound, and sonic politics, and has been presented internationally. Their broader interests include archival decay, media archaeology, migration, and alternative modes of historical narration. They have curated exhibitions and contributed to public programmes and conferences across the UK and Europe.

Dr. August Rabe - tba.

Problematising Performance Practices

Jorge Gonçalves is a blind Portuguese pianist and doctoral candidate in Music at the University of Aveiro, where he completed his Master’s degree in 2017. His academic formation includes the Individual Postgraduate Artistic Training Diploma from the Fryderyk Chopin University of Music in Warsaw (2011) and the Diplôme Supérieur d’Enseignement du Piano from the École Normale de Musique de Paris Alfred Cortot (2004). He has maintained an active performance career for over two decades, appearing in solo, chamber, and concerto contexts in Portugal and internationally. His research and artistic interests focus on nineteenth-century pianistic practices and their implications for contemporary performance. His debut recording of Chopin’s Nocturnes is scheduled for release in early 2026.

Dr. László Stachó. Musicologist, psychologist, and pianist László Stachó is a faculty member at the Liszt Academy of Music in Budapest. As a musicologist, he specialises in early 20th-century performance practice, has written the first monograph on the pianist Béla Bartók’s performing style, and leads masterclasses and coaching sessions in historically informed performance (HIP) of the late 19th and 20th centuries, employing a specific cognitive approach to performance history. As a pianist and chamber musician, he has performed across three continents. As a music educator, he has led attention training workshops as well as piano and chamber music coaching sessions in more than 20 countries to date in Europe, Asia, and the US. He was Visiting Fellow at the Faculty of Music of the Cambridge University in 2014 and 2017, and Guest Professor at the Jerusalem Academy of Music and Dance in 2023.

Dr. Fatima Volkoviskii - tba.

Recording the Stage

Dr. Laura Touriñán Morandeira. Postdoctoral researcher on the ERC project “Spain on Stage: Dance and the Imagination of National Identity” (ERC-2023-COG: 101125179), at the Institute of History of the Spanish National Research Council (https://digital.csic.es/cris/rp/rp15835). PhD in Musicology (SEdeM Award 2021), pianist, and cultural manager specialised in the performing arts. Postgraduate degree in Advanced Technologies for the Management and Documentation of Cultural Heritage. Her research interests include historical musicology; Spanish music (especially from the 19th and early 20th centuries); the cultural anthropology of music and identity construction through music; historical biography; music and gender; dance studies; digital humanities and digital musicology; and music and education.

Dr. Orestis Papaioannou is a Greek composer and music researcher. He holds an MA in Music Studies with a major in Composition from the Aristotle University of Thessaloniki and an MA in Composition from the Lübeck Academy of Music. He recently concluded his doctorate at the Hamburg University of Music and Theatre, where he conducted artistic research on vocal techniques situated between speech and song. His works span a wide range of instrumentations, from solo and chamber music to symphonic and music-theatre, and have received numerous awards in international composition competitions. He is an associate lecturer in historical composition techniques and Western music history at SRH University of Applied Sciences (Berlin campus).

Dr. Austin Oting Har is a composer, writer, and performer with a background in music technology and ancient philosophy. He holds a DMA in Composition and Music Technology from the University of Sydney, an MMus in Music Technology Innovation (summa cum laude) from Berklee College of Music, and an MSc in Ancient Philosophy (with Merit) from the University of Edinburgh. An Associate Artist of the Australian Music Centre, he has released recordings on Neuma Records and Possible Futures, published articles in Context: Journal of Music Research, Leonardo, and Organised Sound, and presented at conferences including Principles of Music Composing, IAFOR, TENOR, NIME, SEAMUS, ACMC, and AES. He was a Visiting Scholar-Composer at the University of California, Berkeley, and is currently an Assistant Professor at Michigan State University.

Recorded sound, mobilities and commerce in Eastern Europe

Dr. Warwick Edwards is Honorary Senior Research Fellow in Music at the University of Glasgow and a former vice-president of the Royal Musical Association. His publications include editions of Elizabethan consort music and Byrd’s motets, together with articles on Renaissance instrumental music, the music of Scotland, and words and music in early song, with cross-references to parallel performance traits in the traditional music of Romania and the Mediterranean. As artistic director of the former Scottish Early Music Consort and Glasgow International Early Music Festival he was equally at home as performer and impresario.

Dr. Marija Maglov is a Research Associate at the Institute of Musicology, Serbian Academy of Sciences and Arts. Her main research interests are interdisciplinary musicological studies of music and media, radio art, music practices of the 20^th and 21^st centuries, discography, and theories of media and mediation. She published a monograph on classical music catalogue of Serbian label PGP RTB/PGP RTS (The Best of: Classical Music in PGP, Belgrade: Faculty of Media and Communication, 2016). 

Filip Šír is a researcher, librarian, and project manager working at the National Museum in the Czech Republic. He is one of the key figures in preserving the Czech historical audio heritage. He played an important role in creating a national portal that connects institutions and individuals working with historical sound recordings. His work focuses on coordination at the national level, based on the principles Collect, Connect, and Collaborate. Since 2012, he has been involved in audio preservation, focusing on the identification of sound documents, digitisation workflows, and long-term conservation strategies. At the National Museum’s Sound Laboratory, he coordinates preservation projects and research activities related to early sound recordings and archival collections.

Beyond Music: Other Uses of Early Recording Technologies 

Dr. YuHao Chen is a postdoctoral scholar with the Global Arts + Humanities Society of Fellows at The Ohio State University. He writes about historical sound media, from phonography to the phonograph, and his recent work has appeared, or is forthcoming, in Resonance: The Journal of Sound and Culture and Inscription: The Journal of Material Text. His research has been supported by grants and fellowships from the Pitt Humanities Center and Asian Studies Center, the Northeast Modern Language Association, the Association for Asian Studies, and the American Musicological Society. He holds a PhD in music from the University of Pittsburgh, with graduate certificates in cultural studies and Asian studies.

Dr. Richard Louis Gillies completed his PhD at the University of Manchester in 2018. He has worked as a Lecturer in Music at Trinity Laban and the University of Glasgow. He is currently a lecturer in Modern History at the University of Nottingham where he teaches social- and cultural-historical approaches to European Fascisms 1900-1945 and Revolutionary Russia 1905-1921. His first book, Singing Soviet Stagnation: Vocal Cycles from the USSR, 1964-1985 was published by Routledge in 2022, and he is writing up his second book, Sculpting in Sound: Valentin Silvestrov’s Symphony No. 5, for the RMA Short Monograph Series. His current research focusses on the early recording industry in Ukraine and Russia during the late Romanov Empire and early Soviet era, 1902-1922.

Dr. Aleksander Kolkowski is a violinist, composer and researcher with an interest in late nineteenth and early twentieth century sound recording and reproduction apparatuses.   His work invites us to listen to the present through the audio technologies and media of the past, through recordings, installations and live historical re-enactments and reconstructions. Awarded PhD, Brunel University (2011); Sound artist-in-residence, Science Museum, London (2012); Research Associateships at the Royal College of Music, London (2013) and Science Museum (2014-15); Composer-in-residence, British Library Sound Archive (2016-18). Visiting Scholar, Max Planck Institute for the History of Science, Berlin (2019); Postdoctoral Research Associate, University of Luxembourg (2019-22). Co-author of Doing Experimental Media Archaeology: Practice (De Gruyter Brill, 2023). Currently an Honorary Research Associate at the Science Museum, London. He is resident in Málaga.

Martin Mejzr is a researcher and PhD student in Media Studies at Metropolitan University Prague, and a researcher at the National Museum, Czech Republic. His work focuses on cultural history, particularly the history of the sound industry in the Czech lands and Central Europe during the nineteenth and twentieth centuries. From 2018 to 2022, he was a member of the New Phonograph Project at the National Museum, where he worked on the handling and physical care of historical sound carriers, especially 78 rpm records. He has also participated in research projects on early sound media trade and on creating databases and SW tools for studying performance and interpretation practices in Czech classical music.

The Early Recordings Association (ERA) is a non-profit association and an international platform for communication between researchers and early recording enthusiasts. ERA is a free source and online platform for general audiences, academic researchers, collectors, and enthusiasts interested in early recordings, currently connecting almost 300 members all over the world. ERA events open pathways for researchers, practitioners and enthusiasts to collaborate, and share their knowledge, experience and skills.

Programme committee

• Eva Moreda Rodriguez (University of Glasgow)
• Inja Stanovic (University of Surrey)
• Patrick Feaster (First Sounds Initiative)
• Nikos Ordoulidis (AltSol)

Please register by 15 May 2026.

The fee includes refreshments and lunch on both days, as well as entry to all sessions. Please click the link below and follow the instructions:

Full fee: £45
Reduced fee: £30

*The reduced fee is available to members of the RMA and ERA, students, and unwaged researchers.

Accommodation

Delegate accommodation is available in Queen Margaret Residences, which offers modern single en-suite rooms in self-catered flats. Delegates can book accommodation for any number of nights between Thursday 18 June 2026 and Sunday 21 June 2026. The nightly rate is GBP 46.50. Accommodation bookings must be paid for online at the time of reservation. If the booking process is not completed with payment (by card) then the room is not reserved. 

Please book through https://book.accom.gla.ac.uk/KxBnBLive/Default.aspx using promotion code is ERA2026

Queen Margaret Residences is a 25-minute walk to the Gilmorehill Campus. There are a range of private accommodation options in the West End (Byres Road, Great Western Road, Kelvingrove) within walking distance of the Gilmorehill Campus. Further accommodation options are available in the city centre; from there, it’s a 10 to 12 minute ride on the subway to Hillhead subway station – a 5-minute walk to the Gilmorehill Campus.

Travel

Most of the conference will take place in the Concert Hall, Gilbert Scott Building (also called Main Building), Gilmorehill Campus, University of Glasgow. The roundtable on Friday will take place at the Advanced Research Centre (also on the Gilmorehill Campus, about 5 minutes walk from the Gilbert Scott Building).

Please refer to the following travel instructions: University of Glasgow - Explore - Maps and travel - Travel to Glasgow