Fanny Gribenski – författare

Unsound Supplies explores the complex and often hidden provenance of the raw materials that underpin the rich musical cultures of modernity. Each of the book's ten chapters focuses on one material used in musical instrument making and the audio communications industry in the nineteenth, twentieth, and twenty-first centuries--from African ivory and transatlantically traded rubber to Manila paper, Brazilian Pernambuco wood, tropical mahogany, Indian jackfruit trees, and steel, aluminum, wax, and shellac sourced from around the globe. Together, the chapters trace the geographically diverse and frequently colonial origins and extraction processes of these materials, while also revealing their shifting values and meanings along supply chains. The authors critically examine the logistics, large-scale infrastructures, working conditions, and political, economic, and epistemic forces that have facilitated this material diversity. Employing a variety of methods and approaches, Unsound Supplies reflects on the narratives and historiographical challenges that arise when discussing the material underpinnings of modern soundscapes, which are so often obscured and morally sanitized by modern musical and sonic aesthetics. The volume unleashes a noisy materiality marked by myriad contradictions, global connections, and uncertainties.

Unsound Supplies explores the complex and often hidden provenance of the raw materials that underpin the rich musical cultures of modernity. Each of the book's ten chapters focuses on one material used in musical instrument making and the audio communications industry in the nineteenth, twentieth, and twenty-first centuries--from African ivory and transatlantically traded rubber to Manila paper, Brazilian Pernambuco wood, tropical mahogany, Indian jackfruit trees, and steel, aluminum, wax, and shellac sourced from around the globe. Together, the chapters trace the geographically diverse and frequently colonial origins and extraction processes of these materials, while also revealing their shifting values and meanings along supply chains. The authors critically examine the logistics, large-scale infrastructures, working conditions, and political, economic, and epistemic forces that have facilitated this material diversity. Employing a variety of methods and approaches, Unsound Supplies reflects on the narratives and historiographical challenges that arise when discussing the material underpinnings of modern soundscapes, which are so often obscured and morally sanitized by modern musical and sonic aesthetics. The volume unleashes a noisy materiality marked by myriad contradictions, global connections, and uncertainties.

Unsound Supplies explores the complex and often hidden provenance of the raw materials that underpin the rich musical cultures of modernity. Each of the book's ten chapters focuses on one material used in musical instrument making and the audio communications industry in the nineteenth, twentieth, and twenty-first centuries--from African ivory and transatlantically traded rubber to Manila paper, Brazilian Pernambuco wood, tropical mahogany, Indian jackfruit trees, and steel, aluminum, wax, and shellac sourced from around the globe. Together, the chapters trace the geographically diverse and frequently colonial origins and extraction processes of these materials, while also revealing their shifting values and meanings along supply chains. The authors critically examine the logistics, large-scale infrastructures, working conditions, and political, economic, and epistemic forces that have facilitated this material diversity. Employing a variety of methods and approaches, Unsound Supplies reflects on the narratives and historiographical challenges that arise when discussing the material underpinnings of modern soundscapes, which are so often obscured and morally sanitized by modern musical and sonic aesthetics. The volume unleashes a noisy materiality marked by myriad contradictions, global connections, and uncertainties.

Unsound Supplies explores the complex and often hidden provenance of the raw materials that underpin the rich musical cultures of modernity. Each of the book's ten chapters focuses on one material used in musical instrument making and the audio communications industry in the nineteenth, twentieth, and twenty-first centuries--from African ivory and transatlantically traded rubber to Manila paper, Brazilian Pernambuco wood, tropical mahogany, Indian jackfruit trees, and steel, aluminum, wax, and shellac sourced from around the globe. Together, the chapters trace the geographically diverse and frequently colonial origins and extraction processes of these materials, while also revealing their shifting values and meanings along supply chains. The authors critically examine the logistics, large-scale infrastructures, working conditions, and political, economic, and epistemic forces that have facilitated this material diversity. Employing a variety of methods and approaches, Unsound Supplies reflects on the narratives and historiographical challenges that arise when discussing the material underpinnings of modern soundscapes, which are so often obscured and morally sanitized by modern musical and sonic aesthetics. The volume unleashes a noisy materiality marked by myriad contradictions, global connections, and uncertainties.

Tuning the World tells the unknown story of how the musical pitch A 440 became the global norm.Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies to tell the unknown story of how A 440 became the global norm. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most “natural” objects of contemporary musical performance and shows how this century-old effort was ultimately determined by the influence of a few powerful nations.