Travelling phonographs in fin de siècle Spain: recording technologies and national regeneration in Ruperto Chapí's El fonógrafo ambulante
Travelling phonographs in fin de siècle Spain: recording technologies and national regeneration in Ruperto Chapí's El fonógrafo ambulante
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世纪末西班牙的旅行留声机：鲁珀托·查帕 (Ruperto Chapí) 的《El fonógrafo ambulante》中的录音技术和国家复兴
DOI：
10.1080/14636204.2019.1644945
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发表时间：
2019
影响因子：
0.3
通讯作者：
Moreda Rodríguez E
中科院分区：
文献类型：
--
作者：
Moreda Rodríguez E
通过对ZarzuelaEl fonógrafo amante(1899年鲁珀托·夏普的音乐，胡安·冈萨雷斯的歌词)的分析，本文讨论了录音技术在西班牙(1877-1900)的到来如何受到关于现代性、地区差异和地区间流动性的话语的影响，并进而影响到这些话语。由于最近对录音技术早期历史的批判性描述大多来自对技术先进国家的研究，本文也提醒人们文化背景的作用：对留声机在西班牙的到来的研究确实揭示了录音技术的早期使用者如何将他们的经历与其他地方经常被视为理所当然的关于现代性和身份的更广泛的话语联系在一起。为了招待来自不同社会阶层的大批民众，El fonógrafo救护车描绘了19世纪末西班牙生活的一个方面，这是它的观众应该熟悉的，即19世纪90年代在西班牙城市、城镇和村庄游行的流动留声机。这部作品还体现了对录音技术的看法，这可能会引起观众的共鸣--这与扎尔祖拉为一个一体化的、逐步工业化的、都市化的、在社会习俗方面略有放松但在意识形态上仍然保守的西班牙的辩护一致。事实上，虽然在Zarzuela开始时，留声机出现在安达卢西亚的一个村庄被认为是对社会习俗的潜在危险，但当移动录音技术显然可以通过鼓励西班牙地区之间的相互理解和确保保留性别角色而使西班牙人变得更加强大时，保留意见很快就被克服了。然而，El Fonógrafo没有为其他更激进的民众预期的留声术的变革性使用辩护；在这样做的过程中，它最终提出了一种将现代性视为国家复兴道路的怀疑论观点。
Through analysis of the zarzuelaEl fonógrafo ambulante(1899; music by Ruperto Chapí, libretto by Juan González), this article discusses how the arrival of recording technologies in Spain (1877–1900) was influenced by and in turn influenced discourses concerning modernity, regional difference and interregional mobility. With recent critical accounts of the early history of recording technologies having emerged mostly from the study of technologically advanced countries, this article is also a reminder of the role of cultural context: the study of the arrival of the phonograph in Spain indeed reveals how early users of recording technologies related their experiences to broader discourses of modernity and identity that had often been taken for granted elsewhere. Intended to entertain large contingents of people across a variety of social classes,El fonógrafo ambulanteportrayed an aspect of late nineteenth-century life in Spain that its audiences would have been familiar with, that is, the travelling phonographs paraded through Spanish cities, towns and villages during the 1890s. The work also embodies views on sound-recording technologies which would have resonated with its audience – in accordance with zarzuela’s defense of an integrative, progressively industrialized, urban, somewhat relaxed in terms of social mores, yet still ideologically conservative Spain. In fact, whereas the arrival of a phonograph in an Andalusian village at the beginning of the zarzuela is initially presented as a potential danger to social practices, reservations are quickly overcome when it becomes clear that mobile recording technologies can make the Spanishpueblothrive by encouraging mutual understanding between Spanish regions and ensuring the preservation of gender roles. However,El fonógrafo ambulanteshies away from defending transformative uses of phonography that other, moreregeneracionistasectors of the population anticipated; in doing so, it ultimately presents a sceptical view of modernity as the path to national regeneration.