Another interesting collection within the British library’s sound archive are recordings of childrens’ games and songs made by Iona Opie and her husband Peter between 1969 and 1983, the Opie collection.
The Opie’s dedicated their working lives to the documentation of children’s play, folklore, language and literature.
They also published several influential works, most notably The Lore and Language of Schoolchildren (1959).
Recordings are searchable by British county using an alphabetical drop-down menu, or by the name of the interviewer or interviewee.
While researching the specifics of early audio recordings for a short story I wrote a few months ago, I came across the Vernadsky library’s collection of sound archives in Kiev and it made me think of this different format of documents that – to a music lover and aurally-focused person such as myself – opens up a whole new world of fascinating historical materials.
It’s got one of the biggest collections of recorded sound in the world and includes music, spoken word, and ambient recordings as far back as 1905, mostly on metal cylinders.
A digitizing project began in the 1990s, allowing much of the collection to now be electronically accessible.
The British Library sound archive’s collection of six million recordings come from BBC radio broadcasts and privately made recordings . They include first hand accounts of Holocaust survivors and of WW I vets held in German prisoner-of-war camps, soundscapes of street scenes including open markets from the Victorian era, the sound of a sail being hoisted on its mast on an early sailing ship, recordings of early folk and opera singing, writers – including an interview with Leo Tolstoy and other noteworthy writers – bird calls and wildlife recordings from many parts of the world, and UK dialects.
In a nutshell – here are the classifications of different recordings available. I’ll delve into these more in the weeks to come.
Drama and literature
Popular music and jazz
Spoken language and dialects
Wildlife and other nature sounds
World and traditional music
It makes me think of all the amazing ways these recordings could be used – in art and theatre projects to help set a scene. In academic investigations comparing the predominant sounds of yesteryear to those we hear today. And to hear – perhaps for the first time for contemporary audiences – the sound of birds and animals that have become extinct.
Many of these archival clips and recordings are available online to the public and some can be imbedded into various kinds of documents, but there are others that are restricted to use by students and faculty of British universities that have subscribed to its collection. However – if you are in London – and go into the reading room, you can listen to almost anything in the collection.
More in the coming weeks on use of this collection, restrictions, and a selection of recordings.
I’ve been working on a short story for a contest this week that’s been percolating in my mind for more than 10 years – that’s the way it goes sometimes – but I was happy to have the chance to finally write it.
The story would probably never seen the light of day if it hadn’t been for the break-up of the USSR (Union of Soviet Socialist Republics) in 1991 when archival records that had been restricted and virtually inaccessible, were released
The idea for the story I wrote all started at a concert at the Chutzpah festival in Vancouver when the band leader, Alicia Sviegels told the story of an ethnomusicologist, Moishe Beregovski, who travelled through the Ukraine in the 1930s and collected Klezmer folk music in one of the world’s most comprehensive studies.
Beregovski was sent to prison in the 1940’s and his research was confiscated from the Ukrainian Academy of Science. He never knew what had happened to it by the time he died in the 1960s’s, but probably assumed they had been destroyed by the Communist government.
However, after the break-up of the Soviet Union – a whole slew of archival records were released, providing a glimpse into the USSR that academics and geneaologists have been gobbling up ever since.
It was at that time that Beregovski’s early recordings on wax cylinders and his extensive documentation of the music – more than 100 questions for each piece of music – were unearthed and are now available for researchers at at library in Kiev, the Vernadsky National Library of the Ukraine.
I’ll write some more about this in the weeks to come and also will post parts of my story, which is called Pale Shadow.