THE BRITISH LIBRARY

Sound and vision blog

Sound and moving images from the British Library

Introduction

Discover more about the British Library's 6 million sound recordings and the access we provide to thousands of moving images. Comments and feedback are welcomed. Read more

20 August 2018

Recording of the week: working 9 while 5

This week's selection comes from Jonnie Robinson, Lead Curator of Spoken English.

The Oxford English Dictionary categorises the use of while [= ‘until’] as northern dialect and, as this contributor to the Evolving English WordBank explains enthusiastically, such subtle distinctions in the way dialects assign prepositions can cause both confusion and amusement.

WHILE (C1442, uncatalogued)

We say nine while five and when I go to other places no one ever really knows what this means and what it means is nine until five o'clock. I remember I worked in a multinational company once and I left on my, well, it was a voicemail that said this, "office hours are nine while five", and I got so many complaints because nobody knew what the hell was going, what was meant to be said. "Nine while five, what does this mean?" I've no idea where it comes from, but when I say it where I come from in Yorkshire people understand it, but when I go out of the area people never really seem to understand it and I think it's quite funny."

I was a student in Leeds in the 1980s and frequently grateful that corner shops stayed open eight while late and delighted when, in 1985, the Leeds band The Sisters of Mercy released Nine While Nine, a song that includes the line nine while nine I’m waiting for the train.

9 WHILE 5

My favourite encounter with the Yorkshire meaning of while, however, was the road sign (presumably still there) on the Otley Road in Headingley which advised drivers of the correct procedure at a filter lane for turning right: the sign read 'Do not turn whilst light is red' – presumably while would send completely the wrong message locally.

Follow @VoicesofEnglish and @soundarchive for all the latest news.

17 August 2018

Recording wildlife in the dark

There are plenty of positives when it comes to digitising archival sound recordings. Long term preservation and improved access are top of the list, however the opportunity to easily explore thousands of freshly digitised files is a curator’s dream.

The library’s Unlocking our Sound Heritage project has digitised an impressive 18,000 wildlife recordings over the past 12 months and this has brought a range of interesting content to the surface. One of our recent favourites is a nocturnal recording of Golden Plovers in the highlands of Scotland. The recording is wonderfully atmospheric, with Red Grouse and Snipe adding to the moorland soundscape. Yet this isn't the only thing that caught our attention. The accompanying metadata, provided by the recordists Charles and Heather Myers, demonstrates the difficulties of recording wildlife in the dark, especially when you encounter unexplained sounds.

Though our Golden Plover recording is dominated by bird calls, it also contains the grazing sounds of an unidentified animal. Charles & Heather were both accomplished naturalists and could identify the songs and calls of British wildlife with ease. Non-vocal sounds however, such as movement or eating, could leave even the most talented individual stumped.

You may be thinking "But couldn't the recordists just take a peek in the direction of the sound?" The answer is, not easily. The recording was made on remote moorland in the dead of night. In addition, the microphones had been placed over 45 m away from the camper van where their recorder was being operated. The only thing left to the Myers' was the power of deduction, as can be seen in the following recording note:

"As I was unsighted it is all guess work. But one thing is certain: the birds were very close. There were Red Deer about so I assume the grazing sound was made by one of these (was it a swishing tail that caused the bump on the mics?) You can hear him stop grazing & trot away to the right (3 min. 13)" 

Golden Plovers with possible Red Deer grazing nearby, recorded on 28th April 1989 in the Scottish Highlands (BL ref 20173)

3281339831_76a8ca1a36_b Could a hungry Red Deer be the source of our unexplained grazing sound?

We'll never know whether the Myers' did record a Red Deer grazing on the moorland turf. Unidentified sounds are often part and parcel of the field recording process, so it's down to the recordist (or the curator!) to fill in the blanks. But, at the end of the day, that's all part of the fun.
 

Follow @CherylTipp for all the latest wildlife news.

UOSH_Footer with HLF logo

14 August 2018

The Bernstein Centenary

Leonard_Bernstein_-_1950sLeonard Bernstein in the 1950s  (Unknown photographer [Public domain], via Wikimedia Commons)

By Jonathan Summers, Curator of Classical Music

Leonard Bernstein was born 100 years ago this month.  During the second half of the twentieth century he was the one figure that brought classical music to the general public in a way never before attempted.  In the early 1950s he used the new medium of television to disseminate his passion for and knowledge of music to the widest possible audience.  Indeed, a whole generation of Americans grew up with a love and understanding of great music thanks to Bernstein.

Between 1954 and 1958 eight live broadcasts introduced by Alistair Cooke encompassed a broad range of music including classical, jazz, musical comedy and the art of conducting posing such questions as ‘What makes opera grand?’  The first programme on Beethoven’s Fifth Symphony is especially fascinating as Bernstein reveals the composer’s earlier ideas and sketches giving his own explanation for their deletion.  The opening page of the score is printed large on the studio floor with members of the orchestra standing on their appropriate staves.

However, it was Bernstein’s series of 53 televised Young People’s Concerts that opened up the wonders of music to a whole generation.  While the British Library has in the collections his later television appearances which were commercially produced (mainly by his record label at the time, Deutsche Grammophon), over previous years I have made an effort to obtain all of Bernstein’s early television material.

DVD box set1DVD0010176 (BL Collections)

In 1959 the US State Department sponsored a tour of the New York Philharmonic which included 50 concerts in 17 countries.  Filmed records of the visits to Moscow, where Bernstein is seen with Shostakovich and Boris Pasternak, and Venice were available on DVD in Japan and can be seen at the British Library.  The tour ended on 10th October 1959 when Bernstein and his orchestra gave a concert at the Festival Hall in London, parts of which were recorded directly to tape from the live radio broadcast in excellent sound by a private individual, Dr. Schuler, whose son donated his collection to the British Library in 1999.  The Times review was headed ‘Like burnished copper – New York orchestra’s fine tone’ and referred to Bernstein as ‘that paragon of brilliance and versatility.’  Here is an excerpt from the Second Essay by Samuel Barber.

 Barber Second Essay 10101959 extract

Bernstein and the New Yorkers returned to London in February 1963 and Dr Schuler recorded the Symphony No. 7 in D minor by Dvorak and Elgar’s Cockaigne overture, an extract of which can be heard below.

Elgar Cockaigne 13021963 extract

A selection of Bernstein video materials at the British Library

Leonard Bernstein's Young People's Concerts 1DVD0005845

Leonard Bernstein's Young People's Concerts Volume 2 1DVD0010018

The Unanswered Question - Six talks at Harvard by Leonard Bernstein 1DVD0009993

Archive of American Television presents Leonard Bernstein Omnibus 1DVD0009994

The Love of Three Orchestras 1DVD0010180

Historic Television Specials Moscow; Venice; Berlin; The Creative Performer; Rhythm 1DVD0010176

The Joy of Sharing - The last date in Sapporo 1990 1DVD0010178

For all the latest Classical news follow @BL_Classical