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Recorded Music in American LifeThe Phonograph and Popular Memory, 1890-1945$
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William Howland Kenney

Print publication date: 2004

Print ISBN-13: 9780195171778

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195171778.001.0001

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Two “Circles of Resonance”

Two “Circles of Resonance”

Audience Uses of Recorded Music

Chapter:
(p.2) (p.3) 1 Two “Circles of Resonance”
Source:
Recorded Music in American Life
Author(s):

William Howland Kenney

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195171778.003.0001

Reimagining the historical influence of the phonograph and recorded music in American life this chapter begins with a reconsideration of Evan Eisenberg's description of domestic consumer phonograph culture. Eisenberg imagined domestic interactions of Americans with the phonograph as “ceremonies of a solitary”, ritualistic observances in which the listener summons forth the sound of voices and musical instruments of his or her own choosing. The talking machine fragmented the unifying role of live music in late 19th-century social rituals. This chapter compares two different but interrelated patterns of listeners' reaction to phonograph records in the United States between 1890 and 1945. The first circle of popular resonance to phonographic sound emerges from the analysis of responses by a group of 2,644 Americans who filled out a survey undertaken in 1921 by Thomas A. Edison Inc. The second pattern of phonographic culture—circles of jazz resonance—first emerged at about the same time, flourished in tension with Edison's consumers, and died in the depression, only to be revived once it was over.

Keywords:   Evan Eisenberg, phonograph, recorded music, talking machine, United States, listeners, records, jazz, survey, Thomas A. Edison Inc.

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