Fri, 10 August 2018
When we imagine the future, we often imagine new technologies, but we rarely take the time to consider how those technologies will change how we live our lives, or how we see the world. When the internet started becoming popular towards the end of the 1990s, who could have ever predicted what it would do to us in the next couple of decades. It turns out that connecting people in more and more effective ways didn't lead to a paradise of self-awareness, empathy and knowledge, but did lead to content bubbles, anonymous trolling, the devaluing of not just journalism but truth itself. Once created, a technology does not merely slip out of our control; it feeds back round into our souls. And the phonograph is no exception. No sooner had it begun to record than it began to influence, and then to homogenise. As much as the railway led to a unification of time zones and a dampening of regional accents, the phonograph turned an infinitely complex musical world into one where artists operated within genres, were influenced on micro and macro levels by famous recording artists, then reflected back these influences as they developed into the next generation of artists. Soon we will see genres springing up - not just in America, but around the world - with astonishing rapidity. We are too late to witness the first examples of this in the USA, and the pig-headed refusal to seek talent outside of a small group of professional recording artists doesn't help matters at all. Around the world, on the other hand, academics and musicans with an interest in exploration were beginning to travel around with portable phonographs, recording in hard-to-reach places with incredibly rich musical traditions, before any of the artists involved had a chance to be affected by this turbo-charged system of influence. 1905 saw the appointment of Erich Moritz von Horn-bostel as director of the Berliner Phonogramm-Archiv, the world's first collection of ethnomusicological recordings. Professor Felix von Luschan was one of the first to take a phonograph with him on an expedition - to Sendshirli in present-day Turkey. Other members of the archive travelled to Turkestan, Mexico, Cameroon, Melanesia and many other places, armed only with a phonograph and a box of blank wax cylinders. These recordings then formed the basis of the new fields of comparative musicology and ethnomusicology. I can tell you very little as to what these researchers thought of the music they collected - how they understood it, whether they thought it somehow inferior to the western musical tradition. All I can say is that they seem to have acted in a more scientific manner than had previously been seen, collecting music as they found it rather than in a contrived way for a pre-concieved record-buying audience. As such, the recordings are nothing short of revelatory, "world music" as we will never be able to hear it again. This month's mix is then a bit different from previous mixes. We start in the USA and finish there, but in the middle we spend the majority of our time traveling to a huge variety of different places, some of them with music which I hope you find as eye-opening as I do. Tracks Russell Hunting - Casey Listening To The Phonograph 0:00
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