- About the Companion Website: www.oup.com/us/ohss
- The Oxford Handbook of Sound Studies
- New Keys to the World of Sound
- The Garden in the Machine: Listening to Early American Industrialization
- Turning a Deaf Ear? Industrial Noise and Noise Control in Germany since the 1920s
- “Sobbing, Whining, Rumbling”: Listening to Automobiles as Social Practice
- Selling Sound: Testing, Designing, and Marketing Sound in the European Car Industry
- Sound Sterile: Making Scientific Field Recordings in Ornithology
- Underwater Music: Tuning Composition to the Sounds of Science
- A Gray Box: The Phonograph in Laboratory Experiments and Fieldwork, 1900–1920
- From Scientific Instruments to Musical Instruments: The Tuning Fork, the Metronome, and the Siren
- Conversions: Sound and Sight, Military and Civilian
- The Search for the “Killer Application”: Drawing the Boundaries around the Sonification of Scientific Data
- Inner and Outer Sancta: Earplugs and Hospitals
- Sounding Bodies: Medical Students and the Acquisition of Stethoscopic Perspectives
- Do Signals Have Politics? Inscribing Abilities in Cochlear Implants
- Sound and Player Immersion in Digital Games
- The Sonic Playpen: Sound Design and Technology in Pixar’s Animated Shorts
- The Avant-Garde in the Family Room: American Advertising and the Domestication of Electronic Music in the 1960s and 1970s
- Visibly Audible: The Radio Dial as Mediating Interface
- From Listening to Distribution: Nonofficial Music Practices in Hungary and Czechoslovakia from the 1960s to the 1980s
- The Amateur in the Age of Mechanical Music
- Online Music Sites as Sonic Sociotechnical Communities: Identity, Reputation, and Technology at ACIDplanet.com
- Analog Turns Digital: Hip-Hop, Technology, and the Maintenance of Racial Authenticity
- iPod Culture: The Toxic Pleasures of Audiotopia
- The Recording That Never Wanted to Be Heard and Other Stories of Sonification
Abstract and Keywords
This article presents an empirical case study of the wide variety of nonofficial settings and reinventions of music listening, recording, and distribution technology in Hungary and Czechoslovakia from the 1960s to the 1980s. Apart from comparing the two settings, it uses the data to discover how individuals used sounds and to consider the question of what those sounds, coupled with their uses, enabled these individuals to do. It also makes an attempt to conceptualize more abstractly about sound and music as a resource for collective agency and action. It considers the two communist regimes in Hungary and Czechoslovakia in regard to control over music, youth policy, technology, and culture. Both “creative constriction” and “dipping into” are present in each country but take different forms, which are revealed in the article.
Trever Hagen, University of Exeter, United Kingdom
Tia DeNora is Professor of Sociology of Music at the University of Exeter. Her books are Beethoven and the Construction of Genius (1995), Music in Everyday Life (2000), After Adorno: Rethinking Music Sociology (2003), and Music in Action: Selected Essays in Sonic Ecology (2011). She recently completed a longitudinal research project on music and mental health and, with Dr Gary Ansdell, is preparing a three volume ‘Triptych’ on this work. With Gary Ansdell, she co-edits the Ashgate Series on Music & Change.
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