Vaughan Williams’s recorded music is a vast subject that has scarcely been studied. This chapter presents a first major step into this research area. It considers early recordings of his works from the 1920s and 1930s, addressing how they were shaped by the technical limitations and market forces of the British industry during this era. Brief playing times and poor sound quality for these recordings meant that art songs and folk-song arrangements dominate the composer’s early catalogue. Early recordings of larger works were often limited primarily to occasions of special advocacy and funding. Later, as demand, technology, and company resources allowed, the number and range of Vaughan Williams’s compositions on record increased. This chapter also shows how reviews of these early recordings reflected overall attitudes about his music, with reviewers expressing mixed reactions to perceived folk and modal aspects of the few works they were able to hear on record. Since a fuller catalogue of Vaughan Williams’s recorded music emerged only over decades, the vicissitudes of the industry cannot be separated from the development of his overall reception during this crucial time.

The technical limitations of early recording technologies did not deter the nascent gramophone industry from attempting to capture on cylinders the great Wagner singers of the late nineteenth century. As recording technologies improved, with inventions such as the microphone, magnetic tape, the long-playing record, and stereophonic sound, more Wagner, at greater length, was committed to disc and broadcast on the radio. Performance history can be traced through recordings: from who sang what where, to stylistic choices. Yet recordings have also shaped performance styles over time, with certain voices proving more easily reproducible than others and editing enabling a technical perfection rarely attainable live on stage. Listening to Wagner on headphones as one walks through a city or rides a train is far removed from making a pilgrimage to a production at the Bayreuth Festspielhaus.

This chapter considers the influence of emerging technologies of audio reproduction on literature. The phonograph, also called the gramophone, was invented in 1877 by Thomas Edison; in the form of Edison cylinders and the flat discs introduced by Emile Berliner in the 1890s, sound recording was rapidly popularized in the late nineteenth and early twentieth centuries. Camlot traces the twofold nature of the literary engagements with sound recording: On the one hand, they “suggested a direct, unmediated experience of events from the past”; on the other, in drawing attention to the material limitations of this new technology, which “worked to shape the real-time sonic events it recorded,” these engagements “revealed how indebted our sense of reality is to mediating factors.”

This chapter considers Puccini’s interest in technology of various types. It examines, first, his passion for speed, encapsulated in an early enthusiasm for motoring. The author discusses the models of car owned by Puccini as well as his various motorboats. Puccini’s enthusiasm for hunting is discussed from a technological perspective. The chapter considers how technology even had an impact upon Puccini’s compositional output, discussing various attempts the composer made to harness electricity for musical purposes, even attempting to invent new instruments to make particular sonic effects. The gramophone played a vital role in disseminating Puccini’s works, though his enthusiasm for the medium of recording was tempered by the difficulties he experienced in recouping royalties. Finally, embryonic radio technology was a source of fascination to the composer.

The Irish Literary Revival at the turn of the twentieth century was heavily invested in the value of orature, characteristically associated with peasant culture as the living remnant of pre-modern society, which is typically seen as being on the verge of its final disappearance. Focusing on Augusta Gregory and W. B. Yeats, this essay resituates the relationship between orature and modernity in Irish culture in the context of technology, noting that the Revival coincides exactly with the period – from the late 1880s to the early 1920s – that saw the emergence of key technologies of sound: the telephone, the gramophone/phonograph, and later radio. A key concept here is the idea of over-lapping histories of technology; running alongside histories of technological innovation, political economy, and social change is a hidden history of technologies of sound as the ghost of oral culture, imbricated in some of the same literary narratives that memorialise the pre-modern.

German business in India advanced not only in the business-to-business sector, as seen in the previous chapter, but also in the Indian bazaar, and many observers testified to the universally available and very visible products “Made in Germany.” Chapter 2 shows how German exporters entered the Indian bazaar by tracing two of the most competitive export industries in detail: cutlery and gramophones/recorded music. In both, German and British manufacturers went head to head, with competition unfolding over price, distribution channels, product specifications and (legal battles over) trademarks. The label “Made in Germany,” forcefully introduced by the British in the 1880s to stigmatize German low-quality products, eventually turned into a political advantage when anticolonial protests increased the perceived value of “non-British” products in some areas of India, most notably in Bengal during the anti-partition protests. While short-lived and with limited immediate impact on business, the nationalist upheaval in the bazaars taught German firms that presenting themselves as “outsiders” of the British-Indian colonial economy had advantages for them and inspired first debates about a strategy that leveraged the Indian nation’s history, aspirations and relationship to Britain.

Discusses the use of the gramophone for both educational and recreational purposes, showing how this developing technology was used on the fighting fronts in the maintenance of servicemen’s morale, as well as for medicinal and therapeutic uses in hospitals and convalescent homes.