2007
DOI: 10.1017/s0261143007001298
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Inventing recorded music: the recorded repertoire in Scandinavia 1899–1925

Abstract: Inventing recorded music: the recorded repertoire in Scandinavia 1899-1925 PEKKA GRONOW † and BJÖRN ENGLUND ‡ †Box 15, 00024 YLEISRADIO, Finland ‡Carl Malmstens väg 12, Abstract The first Scandinavian records appeared in 1899. By 1925, over 27,000 sides had been made in the region, and recordings had become an established part of musical life. Half of the recordings were made by the Gramophone Company, the market leader, but there were at least a dozen competing firms. The companies had to find out by trial an… Show more

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Cited by 13 publications
(10 citation statements)
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“…In 1899, forming the first part of an international expedition to record national artists and repertoires for local markets, the Gramophone Company visited Stockholm to record as many as 119 Swedish song titles (among the other stops are cities as distantly apart as Porto and Istanbul). Another 156 songs were recorded in 1903, and by 1925, annual recording visits had produced more than 5400 music recordings (Gronow and Englund 2007, p. 284), adding up to a total of 12,696 titles when accounting for competing labels (Englund and Gronow 2011, p. 172, import not included). The singers on the earliest recordings were well-known artists from the Royal Opera and various theatres in the capital, as well as popular artists like ballad singer Delsbostintan, and later accordionist Calle Jularbo and revue artist Ernst Rolf (Gronow and Englund 2007, p.…”
Section: Music For the Many (1903–25)mentioning
confidence: 99%
See 1 more Smart Citation
“…In 1899, forming the first part of an international expedition to record national artists and repertoires for local markets, the Gramophone Company visited Stockholm to record as many as 119 Swedish song titles (among the other stops are cities as distantly apart as Porto and Istanbul). Another 156 songs were recorded in 1903, and by 1925, annual recording visits had produced more than 5400 music recordings (Gronow and Englund 2007, p. 284), adding up to a total of 12,696 titles when accounting for competing labels (Englund and Gronow 2011, p. 172, import not included). The singers on the earliest recordings were well-known artists from the Royal Opera and various theatres in the capital, as well as popular artists like ballad singer Delsbostintan, and later accordionist Calle Jularbo and revue artist Ernst Rolf (Gronow and Englund 2007, p.…”
Section: Music For the Many (1903–25)mentioning
confidence: 99%
“…In 1903 an early version of the jukebox was also exhibited to the public, the Telefonografautomat (Dahlqvist 2006, p. 186), but it never caught on in Sweden the way it did in the USA 7 . In the same year, 1903, Skandinaviska Grammophone AB was founded in Stockholm as a subsidiary of the Gramophone Company, and it soon faced competition by other companies recording Swedish artists, such as Columbia, Lyrophon and Pathé (Gronow and Englund 2007, p. 286ff.).…”
Section: Music For the Many (1903–25)mentioning
confidence: 99%
“…liels uzsvars pētniecībā tiek likts uz starpkaru perioda pasaules lielāko gramofonu un skaņu ierakstu kompāniju, kā "Carl lindström a.G. ", "pathé Frères" un "the Gramophone Company", darbības izpēti (Franzén, thelander, Vanberg 1998), arī starptautisko uzņēmumu darbību atsevišķos eiropas reģionos (Griunberg, ianin 2002;liliedahl 1977). būtiska loma ir pētījumiem par mazo nacionālo fabriku veidošanās procesiem eiropas kontekstā 20. gadsimta 20.-30. gados, kas tiešā veidā saistīti ar latvijas situāciju (Gronow 1998(Gronow , 2007negus 1999;Gebesmair, smudits 2001). latvijā pagaidām nav zinātnisku pētījumu par vietējo skaņuplašu uzņēmumu veidošanos un darbību eiropas kontekstā.…”
Section: Figure Captionsunclassified
“…Ao se observarem as datas em que se dá o início da produção de fonogramas no Brasil, poder-se-ia notar que elas não são muito distintas das de outras regiões periféricas ao capitalismo industrial. Há registros do início desse negócio na Escandinávia (GRONOW, ENGLUND, 2007) e na própria América Latina (GONZÁLES e ROLLES, 2004) mais ou menos na mesma época, revelando que o desenvolvimento da indústria fonográfica em países não industrializados esteve diretamente relacionado à expansão do comércio internacional durante a chamada era dos impérios (HOBSBAWN, 1998) e a conseguinte estruturação das telecomunicações que conectavam países industrializados aos agroexportadores espalhados pelo globo.…”
Section: A Construção De Um Negócio De Comunicação E Cultura 1900-1950unclassified