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The known contents of Isaac Newton's private library include a book seldom noticed by biographers or historians of science: a 1662 edition of the Eloquentia bipartita of the Jesuit scholar Famiano Strada. Contents include two lectures, originally given in Rome early in the century, that offer a fictitious account of a contest a century before, in which the leading humanists of the day had squared off against one another, each dressed up like his favorite ancient poet. These curious lectures reveal a forgotten link between the workings of poetic influence in the classical tradition and Newton's paradigm-shattering theories of mechanics. [ABSTRACT FROM AUTHOR]

Music technology continuously evolves, transforming the way we create, perform, and experience music. From the invention of the phonograph to the rise of digital audio workstations, each technological advancement has broadened the horizons of musical possibilities. The advent of electronic instruments and digital recording revolutionized music production, making high-quality sound creation accessible to artists worldwide. As we progress further into the digital age, the integration of artificial intelligence represents the latest and most profound leap in music technology. AI not only enhances music composition, analysis, and education but also opens up new realms of creativity and interaction, redefining the future of music. [ABSTRACT FROM AUTHOR]

During the last years of the Porfirian government, two recordings circulated with the alleged voice of President Díaz. In a record included in a 1907 Columbia Phonograph Company catalogue, the orders of the leader were captured during the battle fought on April 2, 1867 in Puebla, between the french troops and the Juarista army. In reality, it was a performance recorded in a phonograph and bicycle workshop by a group of popular actors and musicians. At the same time, a cylinder produced by the Edison Company in 1909 contained a letter from Díaz addressed to Thomas Alva Edison. Through these phonograms and other sonic, visual, and handwritten sources, I demonstrate the relevance of recorded sound for studying the diplomatic and commercial relations between the US government and the Mexican State, as well as some of the strategies of subaltern sectors to participate in daily battles for the memory of the nation. Don Porfirio's voices reveal a privileged field of social tensions, between truth and fiction, which allows the political and popular history of Mexico to be rewritten from other methodological possibilities. [ABSTRACT FROM AUTHOR]

The article explores the history of sound recording technology, focusing on the impact of inventions like the phonograph and gramophone on music accessibility and preservation. Topics discussed include the evolution of sound technologies, the role of inventors like Thomas Edison and Emile Berliner, and teaching ideas for students to explore digitized resources at the Library of Congress.

The article explores the value of different types of sources (written, audio) of traditional music in the context of contemporary Polish folk music research and practices. The military twentieth century rendered a large gap in the records (especially in the sound recordings) of traditional music and in order to obtain a more coherent and complete picture of the essence and development of traditional music, it is necessary to combine all the bits and pieces in different types of recordings. The most recent research has allowed us to study the first notations of traditional music made by Oskar Kolberg in the nineteenth century in quite a new context - via audio experiences after listening to archival recordings. The "phonic age" delivered additional data about traditional music - not only lyrics, melody, intervals and formulaic notation of rhythms, but also every detail that could not have been captured and saved with the use of traditional musical notation. The appearance of new techniques of sound recording has a particular meaning and influence for the reconstruction of the ancient sound of village music and for styles and manners of performing. It is important not only for musical performers but also for theoreticians who often face the problem of how to interpret historical descriptions of music or how to truly perform historical reality (e.g., ethnomusicologists, ethnographers, film and radio-audience producers, etc.). An experimental study was conducted in collaboration with contemporary musicians on how they interpret the acquisition of a new piece written down over one and a half centuries ago. The results revealed notable differences between the musicians with academic education, younger generation revivalists, and traditional musicians in terms of acquiring the style of performance but also in shares of improvisation. In addition, the notation is not able to describe the nuances of performance and therefore the audio recordings or live models are of extreme value in the practical learning and researching of traditional music. [ABSTRACT FROM AUTHOR]

In an examination of three cylinder recordings from 1889, this essay compares the context for their original production with the experience of hearing them again in 2019, thanks to IRENE, a twenty-first century suite of state-of-the-art techniques and equipment designed to recover sound from old recordings otherwise considered unplayable. This pairing offers an opportunity to examine how each period envisioned the technical opportunities and social purpose of these new sound technologies in their respective times. Inspired by the work of Sheila Jasanoff and others who have developed the concept of "sociotechnical imaginaries," this analysis focuses on the role of listeners' imaginations and asks how their notions shaped the meaning, use, and material aspects of recorded sound and playback. As a contribution to sound studies, this comparative look manifests the field's attention to both sonic phenomena and the means by which we come to know and experience those phenomena. [ABSTRACT FROM AUTHOR]

Between Thomas Edison's invention of the phonograph in 1877 and World War I, inventors, entrepreneurs, performers, and listeners transformed the singular talking machines of the late 1870s to the ubiquitous music machines of the twentieth century. Through selected images, objects, and links to period sounds, this essay offers a chronological glimpse of interacting social, technical, and entrepreneurial forces at work. Combining visual, aural, and material sources in this way enlarges the historian's toolbox for understanding the late nineteenth and early twentieth centuries. [ABSTRACT FROM AUTHOR]

This article gives a brief history of the Gramophone Company, Ltd.'s chief recording experts, Theodor Heinrich Max Hampe and Arthur Spottiswoode Clarke in India between 1910 and 1915. The duties of the chief recording expert included record taking not only in India, but also other Asian countries, Burma, Ceylon, Siam, The Malay States, Singapore and Macao and the Dutch East Indies. The information on the recording experts in India has been compiled from a variety of sources, including original documents and communications between The Gramophone Company, Ltd. in London and their Branch Office in Calcutta, from the archival holdings of materials in the EMI Archives, London and The Gramophone Company, Ltd.'s Indian offices at Dum Dum. These documents have provided essential information about the setup and development of the sound recording industry in India and the activities of the companies concerned. (The old geographical place names used at the time in the documents have been maintained in this article.). [ABSTRACT FROM AUTHOR]

"Where Did Our Love Go?" is a film by Warren Sonbert that provides a glimpse into the art, culture, and leisure activities of Sonbert and his youthful companions in Manhattan. The film features various scenes of the group walking through galleries, attending exhibitions, shopping, lounging in apartments, and dancing. The soundtrack includes popular songs from the era, adding a counterpoint to the onscreen activities. The film is described as a valentine and farewell to a generation, capturing the ambiguity and liveliness of the youth of that time. [Extracted from the article]

William Baldwin wrote a variety of kinds of books, but through them all he displayed his skills as a phonographer, as a writer of sound. Geoffrey Streamer's story about hearing animals speak is the best known of these works, but Baldwin's compilation of 'sayings' of philosophers, his ballading of The Song of Solomon on the model of Sternhold's Psalm tunes, his noisy tour of Hell in his satire on the death of Bishop Paul III of Rome, the transcribed voices collected in A Mirror for Magistrates, and his 'funerals' for Edward VI are all sound-rich books. What is more, the sounds in these books are located sounds. They are associated with particular acoustic environments, and they challenge readers to place themselves imaginatively in those environments. In this respect, Baldwin's phonographies resemble the art of contemporary sound artists like Brandon LaBelle in Acoustic Territories. [ABSTRACT FROM AUTHOR]

In this article I argue that the longstanding practice of depicting Italian Americans as opera lovers stems from a tradition associating Italian immigrants with mechanical music devices. As a growing number of Italian unskilled labourers entered the United States in the second half of the nineteenth century, they were stereotyped as street musicians, and especially as organ grinders, in mainstream popular culture. Beginning in the 1900s, recording manufacturers strove to make home phonographs appealing to the middle class by breaking the chain of mechanical, social and racial associations that connected the phonograph with earlier musical devices such as the barrel organ, and with those who played them. Because of the prominent marketing role that record labels assigned to Italian opera, this commercial strategy had important consequences for the genre as well as for Italian immigrants, who leveraged opera's renewed visibility and audibility into an effective vessel for social and political empowerment. [ABSTRACT FROM AUTHOR]

This essay focuses on the Berliner Phonogramm-Archiv, established in 1900, and its subsequent commitment to collecting music, voices, and sonic evidence from all over the world. But members of the archive managed to embrace the world as a resource in another respect as well: the daily production of cylinder records required large quantities of wax and various other materials that depended on a global system of supply and considerable exploitation of nature. The essay shows that the manufacture of the cylinders resonated with the research agendas developed at the Phonogramm-Archiv during the eras of the German Empire, World War I, German colonialism, and the Weimar Republic. [ABSTRACT FROM AUTHOR]

In the late nineteenth century, the new technology of sound raised public aware)ness about people’s constant exposure to sound, audible or inaudible to the human ear. Hence, the self has to fight immuno-wars defending itself from potential dam)ages caused by sound, a warfare which also gives rise to the idea of “noise.” The social/cultural construction of noise and the need to ward against it in modern society echo Roberto Esposito’s idea of immunology. This study deals with short stories about the phonograph written by Arthur Conan Doyle at the turn of the twentieth century. By contextualizing these stories in the history of technology, I discuss how new sounds reformed human hearing and the practice of listening. Also, I argue that a new immune mechanism has evolved in response to the mod)ern man’s war to protect the self. I will thus engage with Jean-Luc Nancy’s idea of the listening subject and Peter Sloterdijk’s microspheric immunology in order to shape the notion of the “sonic bubble” as a new immunological strategy that does not operate via violence but tolerance. [ABSTRACT FROM AUTHOR]

Artificial Intelligence (AI) nowadays is the technology of the future, as its applications are constantly expanding in every aspect of human life. The spread of the internet has given a great impetus to technologies that apply AI algorithms and make their presence more and more intense in everyday life. However, despite the ubiquitous presence of AI, few people can comprehend its true meaning and the reason for its existence, especially the way it is applied. The purpose of this work is to present the design and pilot evaluation of SpAI War, which is a serious game that aims to introduce the user–student to the field of AI and its algorithms. Specifically, the paper presents the design of SpAI War in the context of the Educational Games (EG) design framework. This is followed by the results of the pilot evaluation of the game by 58 undergraduates and graduates of Informatics. The study utilized a survey based on the MEEGA+ model, and positive results were recorded in terms of player experience, game scenario, and perceived short-term learning. [ABSTRACT FROM AUTHOR]

The Radio Gramophone Museum, which was opened in 2018 by the Malatya Metropolitan Municipality, is the largest radio gramophone museum in Turkey. Another feature that makes the museum important is that it gives the visitor a nostalgic atmosphere with the group of works it exhibits. The museum, which was built as two floors, allows the visitor to examine the radio and gramophone works with the music playing in the background on both floors. The museum is very valuable in that it takes the visitor back to ancient times as well as deals with Turkey's musical past. In this sense, the museum tries to convey to the visitors how the radio and gramophone works it exhibits and how the mass media have developed in the historical process and how they have reached the present day. In this study, it is aimed to evaluate Malatya Radio Gramophone Museum, which has a great importance in terms of Turkey in general and Eastern Anatolia Region in particular, in terms of museology. It is also aimed to highlight the fact that the museum is the largest radio and gramophone museum in Turkey, with the works it exhibits, and to emphasize the aspects that distinguish it from other museums. Therefore, it is aimed to state that the museum is a place that should be seen by foreign visitors as well as local visitors. [ABSTRACT FROM AUTHOR]

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I reconstruct the social uses of the phonographic recordings produced and consumed in the daily life of the Mexican capital between 1892 and 1902. To delve into this history of phonograms, business networks, and consumers, which has gone unnoticed for decades in the historiographical literature, I appeal to various sources, such as periodicals, printed broadsides, letters, and user comments. I devote the first section to exploring the operation of parlors dedicated to hosting phonographic exhibitions in 1892. Then I present the listening experiences and repertoire of itinerant phonographers, from the testimony of a regular client. Finally, I analyze the commercial practices and strategies of various entrepreneurs employed in recording and selling pieces by national artists. One of the biggest challenges faced during this task is trying to reconstruct the forgotten notes of this sound market without the help of audible supports. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

(I) This study aimed to evaluate the impact on physical demands induced by FIFA's new rule implemented based on the number of substitutions caused by COVID-19. (II) Sixty-six matches were analysed in peak periods (microcycles of three matches in a week) in the competition period before and after the pandemic. The variables collected were organised by team (22 from LaLigaTM SmartBank 2019–2020) for a total of 132 team records and 1077 player performance reports using a multi-camera tracking system and Mediacoach® software. Physical performance variables were analysed in the first half, second half and whole match, thus determining the individual and collective performances of the team. (III) This study shows how, despite the increase in substitutions allowed with the new rule, physical performance increased in some variables in the congested periods (e.g., total distance run and distance run in the first and second halves). Additionally, the players' physical performance involved in a substitution was greater than it was for players who completed the game. (IV) The new substitution rule helps to maintain and even improve physical performance. This measure could improve intensity levels in both individual and team performance. It could even safeguard the physical integrity of the players by reducing the risk of injury, as fewer players have to play the full match. [ABSTRACT FROM AUTHOR]

We already know that Antonia Dickson co-wrote The Kinetograph, the Kinetoscope and the Kineto-phonograph (1895) with her inventor brother William Kennedy Laurie Dickson, published as a Raff and Gammon pamphlet and now considered the 'first' history of motion pictures. The late Paul Spehr was one of Antonia's champions, and he suggested what a more careful reading of the prose style of that 'history' might reveal about the likely author. Also, a comparison with W.K.L. Dickson's 1933 version of that history – published 30 years after Antonia's death and after he had moved to the UK – reveals distinct differences not only in prose style but also in the conceptualization of the invention. Here is a re-introduction to Antonia Dickson relative to her talents (music historian, art historian, pianist, poet, translator, popular science writer) and achievements (including co-authorship of a biography of Thomas Edison), the single-authored 'Nine Hundred and Fifty Miles by Telephone', in Cassier's Magazine (November 1892), written after she witnessed the first successful telephone call between New York and Chicago. Then, in 'Wonders of the Kinetoscope' from 1895 she published her own account of how moving pictures worked, significant for its grasp of how the device functioned. From there I offer another angle on the contradictory accounts of invention published in the newly illustrated engineering journals of the late nineteenth century. [ABSTRACT FROM AUTHOR]

When Thomas Edison handed over his 1877 invention of the phonograph—the new sound recording technology—to a group of investors to market across the U.S, the company lacked the proper expertise, manufacturing, and supply networks to do so. This article traces one company's struggle in dealing with the recurring malfunction of exhibition phonographs, which impacted how audiences came to view the innovation. In doing so, the article revisits the issue of technological determinism as parsed by scholars such as Bruno Latour, Robert Heilbroner, Thomas Hughes, Donald MacKenzie, and Judy Wajcman. Investigating under what circumstances one innovation enjoys more (or less) autonomy vis-à-vis social forces, the case study suggests that scholars should make more granular assessments of how technology and society impact each other. [ABSTRACT FROM AUTHOR]

The aim of the present study was to assess the prevalence of musculoskeletal injuries in professional soccer players in the state of Acre, Brazil, during the 2016, 2017 and 2018 seasons. Method: The sample consisted of 112 professional soccer players. Data were collected from the medical records of injured players and through interviews (players and/or those responsible for their treatment). The following data on the characteristics of the injuries were collected: injury type, whether the injury occurred during matches or training, injured site, and player position. Results: stretch 38 (33,9%) and contractures 41 (36,6%) were the most common injury types, followed by contusions 9 (8,0%), dislocations 6 (5,4%) and tendonitis 5 (4,5%). The lower limbs were the most affected, with the back of the thigh, knee and ankle being the sites with the highest injury frequencies. Winger and midfielder were the positions with the highest prevalence of injuries. In 2016, the prevalence of injuries was higher during matches than training, and in the subsequent seasons, there was a higher prevalence during training. Conclusion: The prevalence of injuries in soccer players from Acre is high and mainly involves the lower limbs, with a higher frequency among wingers, attacking midfielders and strikers. Methods for preventing such injuries are necessary. [ABSTRACT FROM AUTHOR]

This article focuses on composer Wilhelm Stenhammar’s relationship with the nascent Swedish folk music movement, namely the individuals, networks and organizations committed to preserving folk music in Sweden. The matter is briefly discussed by Bo Wallner in his biography of Stenhammar (1991), and his conclusion is that Stenhammar is ‘standing beside’ this movement. Unlike several contemporary colleagues he did not, for example, actively participate in the production of written records and, according to Wallner, seems to have lacked personal contacts with ‘experts’ on the subject. The present article is based on new or previously overlooked facts leading to a modification of Wallner’s conclusion. In the 1910s, Wilhelm Stenhammar was one of those who actively got involved in the issue of the possibilities of the phonograph in the documentation of folk music. He was in personal contact with Yngve Laurell, assistant at The Swedish Museum of Natural History, who had been educated at the Berliner Phonogramm-Archiv. By engaging donors Stenhammar greatly contributed to Laurell being able to carry out phonograph recordings of Swedish folk music during several years. In 1914 Stenhammar was also one of eleven prominent figures in Swedish cultural life who signed an appeal for ‘a phonogram archive for folk music’ with the Berliner Phonogramm-Archiv as a likely model. Placing Wilhelm Stenhammar beside the contemporary folk music movement without contacts with experts in the field is therefore wrong. By making Laurell’s recording work financially possible, his involvement also gained historical significance for the genre. [ABSTRACT FROM AUTHOR]

Objective/Context: This article aims to demonstrate how, despite the high prices of talking machines for the pockets of the Mexican working classes, these sectors used various practices and mechanisms to enter the world of recorded sounds. This story develops in a specific context of the social uses of talking machines in Mexico, marked by the interest of several American companies in the country's sound market, such as Victor Talking Machine Company, National Phonograph and Columbia Record, whose directors sent technicians to record hundreds of records and cylinders with pieces performed by cultured and popular artists. Methodology: The tools of cultural history and a wide range of periodical sources, and, to a lesser extent, governmental petitions, are used to capture segments of the workings of the everyday economy and the consumption strategies of talking machines. Originality: This is a topic scarcely addressed by phonographic studies in Mexico, which have concentrated on analyzing musical recordings rather than understanding the consumption of these products. By considering income, consumers' spending capacity and the commercial strategies of businesses, this text reveals different applications of talking machines at the educational, domestic and occupational levels to explain how they were transformed into desired commodities. Conclusions: After highlighting the cost of living at the time and the wages of workers, artisans and peasants, the research concludes that practices such as raffles, theft, the offer of itinerant phonographers, listening in commercial establishments and installment purchases, among others, allowed the less privileged to have access to the apparently unattainable devices imported between 1903 and 1910. [ABSTRACT FROM AUTHOR]

At the end of the nineteenth century, talking machines stopped being inaccessible to the popular sectors and became objects of daily Mexican life. It was in this context that dozens of individuals, aware of the popular predilection for recorded music and interaction with sound technologies, decided to request authorization from the city council of Mexico City to rent out their phonographs on public roads. They would receive a penny for each phonogram listened to by their clients. The need of these popular entrepreneurs for an attractive and varied repertoire prompted the emergence of shops and small recording studios in the city. This article attempts to reconstruct this forgotten chapter in the business and cultural history of Mexico. To do this, we will not only reveal the identities of the phonographers, the objects they rented, and the places they traveled but also the accusations they faced for the spread of hearing diseases and the reproduction of obscene songs. In general, this research highlights the methodological relevance of an approach that rethinks the past, having as its central axis the study of the processes of commercialization and consumption of sounds in the daily life of cities. [ABSTRACT FROM AUTHOR]

This study examined the influence of player position and match quarter on activity profiles during the phases of play in Australian Football. Global positioning satellite data was collected for one season from an Australian Football League team for nomadic, key position and ruck players (age: 24.8 ± 4.2 years, body mass: 88.3 ± 8.7 kg, height: 1.88 ± 0.8 m). Separate linear mixed models and effect sizes were used to analyse differences between positions and game quarter within each phase of play for values of distance, speed and metabolic power indices. There were clear differences between positions for low-speed running, high-speed running, total distance and average speed. Nomadic players generally recorded the highest match running outputs, followed by key position players and ruckmen. Within each position, offence and defence involved the highest intensities, followed by contested play and then stoppage periods. Across the four quarters, there were small to large reductions in average speed, high-speed running, high power and energy expenditure during offence, defence and contested play, but not during stoppages. Accordingly, conditioning staff should consider the intermittent intensities of the phases of match-play for each position to optimally prepare players for competition. Reductions in match intensities were evident during active periods of play providing implications for real-time monitoring to optimise the timing of rotations. [ABSTRACT FROM AUTHOR]