Gerda Lechleitner
Biographic Data
| ID | 409931 |
|---|---|
| NAME | Gerda Lechleitner |
| GIVEN NAMES | Gerda |
| FAMILY NAME | Lechleitner |
| SIGNATURE | LECHLEITNER G |
| AFFILIATIONS | Austrian Academy of Sciences |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
The Sound Archive as a Source of Knowledge
Let me begin my response to the given text with situating myself: My work engages with the affordances of historical sound recordings as performative, sung, or spoken sources of colonial history
Terminal Archive? Taking and Returning Sound recordings: Two Examples from the Vienna Phonogrammarchiv
An overall assumption might express that music in general and songs in particular belong to the performers – researchers are interested in any music and “take” songs or instrumental pieces (as sound recordings) with them, often also to an archive. Metaphorically speaking, the sounds of a region leave their original place, captured by interested persons, enthusiasts or researchers, to be then studied, listened to and stored elsewhere. The stories …
Historical sources of ethnomusicology in contemporary debate
"Capturing" Sound: The Phonograph in (Early) Folk Music Research
Even though folk music collections rich in written documents had existed for a long time, it was the invention of sound recording that - from today's point of view - marked the "real" beginnings of folk music research and added an entirely new aspect to the discipline. However, although the use of a recording machine was undisputed in the field of ethnomusicology - and indeed a prerequisite, as stated in the motion to establish the Vienna Audiovi…
Papua New Guinea (1904-1909): The Collections of Rudolf Poch, Wilhelm Schmidt and Josef Winthuis
No prominent works on this page.
Papua New Guinea (1904-1909): The Collections of Rudolf Poch, Wilhelm Schmidt and Josef Winthuis
"Capturing" Sound: The Phonograph in (Early) Folk Music Research
Even though folk music collections rich in written documents had existed for a long time, it was the invention of sound recording that - from today's point of view - marked the "real" beginnings of folk music research and added an entirely new aspect to the discipline. However, although the use of a recording machine was undisputed in the field of ethnomusicology - and indeed a prerequisite, as stated in the motion to establish the Vienna Audiovi…
Historical sources of ethnomusicology in contemporary debate
Terminal Archive? Taking and Returning Sound recordings: Two Examples from the Vienna Phonogrammarchiv
An overall assumption might express that music in general and songs in particular belong to the performers – researchers are interested in any music and “take” songs or instrumental pieces (as sound recordings) with them, often also to an archive. Metaphorically speaking, the sounds of a region leave their original place, captured by interested persons, enthusiasts or researchers, to be then studied, listened to and stored elsewhere. The stories …
The Sound Archive as a Source of Knowledge
Let me begin my response to the given text with situating myself: My work engages with the affordances of historical sound recordings as performative, sung, or spoken sources of colonial history
Diverse Musicological Studies (3 works) · History (3 works) · Acoustics (2 works) · Art (2 works) · History (2 works) · Musicology and Musical Analysis (2 works) · Visual arts (2 works) · Aesthetics (1 works) · Archaeology (1 works) · Archivist (1 works)