The editors’ aim in creating this themed issue of Organised Sound was to explore the resonances between questions raised by electroacoustic specialists and those taken up by scholars who work on the sounds of the pre-electric past. Since 1996, Organised Sound has been the leading journal for the study of electroacoustic music; for this issue we wanted to move beyond the traditional arena covered by ‘EA specialists’ and build a bridge between electroacoustic music studies and sound studies – by now a burgeoning field of inquiry that spans several disciplines, not least musicology and ethnomusicology, music theory and composition, anthropology, and sensory history. With this in mind, for the ‘New Wor(l)ds for Old Sounds’ issue, contributors were invited to apply the insights afforded by electroacoustic technologies, vocabularies, theories and practices to sounds and spaces created and used before the widespread adoption of electric sound. When it came to setting a cut-off date for our call, the density of technological breakthroughs for electrified sound in the decades around 1900 presented us with a rich array of possibilities (Thompson 2002). We could have chosen 1895, the year in which American inventor Thaddeus Cahill first submitted a patent application (US 580035 A) for an electromechanical organ he dubbed the Telharmonium or, more prosaically, ‘The Art of and Apparatus for Generating and Distributing Music Electrically’. Another landmark year was 1905, when Max Kohl A.G., a German firm specialising in scientific instruments, introduced their Helmholtz Sound Synthesiser, one of several such devices built following designs by the German scientist and acoustician Hermann von Helmholtz (Pantalony 2005; Wittje 2013). Or we could have reached back to 1865, when the German physicist and luthier Rudolph Koenig, working in Paris, advertised his own Helmholtz synthesiser, emphasising the ability to replicate the timbre of vowel sounds through the manipulation of overtones (Pantalony 2009: 52–5). Moving from the rarified world of scientific instruments to more publicly oriented technologies took us further into the twentieth century. On 2 November 1920, the first commercial radio station, Pittsburgh’s KDKA, crackled to life, broadcasting US presidential election returns in the contest betweenWarren Harding and James Cox (Hinds 1995: 3; Lewis 1992: 28). If Léon Theremin’s invention of his eponymous instrument in the Soviet Union in 1922 is an especially familiar milestone for specialists in electroacoustic music, the first commercial screening of motion pictures with sound-on-film technology the following year – Lee De Forest’s ‘Phonofilms’, premiered at New York’s Rivoli Theater – suggested new uses for electric sound in the context of mass entertainment (Wierzbicki 2009: 86–7). In 1924 German inventors Walter Schottky and Erwin Gerlach developed the ribbon microphone and ribbon speaker (Gerlach 1924; Schottky 1924; Skudrzyk 1954: 6), while across the Atlantic the first recordings using electric groove-cutting were made in Columbia’s New York lab, reaching the public in the form of the RCA Victor Orthophonic Victrola (Millard 2005: 142–3). Other transformative developments were the release in 1927 of the first ‘talkie’, the American film The Jazz Singer, and the 1932 opening of the first concert hall wired for sound, New York City’s Radio City Music Hall (Thompson 2002: 229–31). But we kept returning to the year 1925, and to a technological innovation that, although rarely foregrounded as a watershed in the history of electric sound, was to have profound and far-reaching repercussions. That year, American electrical engineer Chester Rice filed a set of patents that laid the groundwork for the development of the first commercial loudspeaker. Rice’s main patent describes an electromagnetic loudspeaker (US 1707570 A) with a corresponding amplification system (US 1728879 A), developed in collaboration with his colleague Edward Kellogg. In the patent filing, Rice also credits Kellogg’s Radio Receiving System (US 1584551, incorrectly cited as US 158455), with having a direct impact on his research. Together with an electric condenser (US 1714890 A) these patents made possible the development of the first loudspeaker to be sold commercially. Marketed by the Radio Corporation of America (RCA) as the Radiola Loudspeaker Model

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社论：旧声音的新世界（l）ds

编者创作本期《有组织的声音》的目的是探索电声专家提出的问题与研究前电子时代声音的学者提出的问题之间的共鸣。自 1996 年以来，Organized Sound 一直是研究电声音乐的领先期刊；对于这个问题，我们希望超越“EA 专家”所涵盖的传统领域，并在电声音乐研究和声音研究之间架起一座桥梁——现在是一个跨越多个学科的新兴研究领域，尤其是音乐学和民族音乐学、音乐理论和作曲、人类学和感官历史。考虑到这一点，对于“旧声音的新世界（l）ds”问题，邀请贡献者应用电声技术，词汇表，在广泛采用电声之前创建和使用的声音和空间的理论和实践。当谈到为我们的电话设定截止日期时，1900 年左右的几十年里电气化声音技术突破的密度为我们提供了丰富的可能性（Thompson 2002）。我们本可以选择 1895 年，在这一年，美国发明家 Thaddeus Cahill 首次提交了一项专利申请 (US 580035 A)，他将其称为 Telharmonium，或者更通俗地说，“电子产生和分发音乐的艺术和装置” . 另一个具有里程碑意义的年份是 1905 年，当时专门从事科学仪器的德国公司 Max Kohl AG 推出了他们的亥姆霍兹声音合成器，遵循德国科学家和声学家 Hermann von Helmholtz 的设计制造的几种此类设备之一（Pantalony 2005；Wittje 2013）。或者我们可以追溯到 1865 年，当时在巴黎工作的德国物理学家和制琴师 Rudolph Koenig 为他自己的亥姆霍兹合成器做广告，强调通过泛音处理来复制元音音色的能力（Pantalony 2009：52-5 ）。从稀有的科学仪器世界转向更面向公众的技术，我们进一步进入了 20 世纪。1920 年 11 月 2 日，第一个商业广播电台匹兹堡的 KDKA 开始活跃起来，在沃伦·哈丁和詹姆斯·考克斯（Hinds 1995：3；Lewis 1992：28）之间的比赛中播放美国总统选举结果。如果莱昂·特雷明 (Léon Theremin) 于 1922 年在苏联发明了他的同名乐器，这对于电声音乐专家来说是一个特别熟悉的里程碑，那就是第二年首次使用有声电影技术的电影商业放映——李德福雷斯特的“唱片”在纽约的 Rivoli 剧院首演 - 提出了大众娱乐环境中电声的新用途（Wierzbicki 2009：86-7）。1924 年，德国发明家 Walter Schottky 和 ​​Erwin Gerlach 开发了带状麦克风和带状扬声器（Gerlach 1924；Schottky 1924；Skudrzyk 1954：6），而横跨大西洋的第一批使用电动凹槽切割的录音是在哥伦比亚的纽约实验室制作的，达到以 RCA Victor Orthophonic Victrola 的形式向公众公开 (Millard 2005: 142-3)。其他变革性的发展是 1927 年第一部“有声机”的发行，美国电影爵士歌手，以及 1932 年第一个有线音乐厅的开幕，纽约市的无线电城音乐厅（汤普森 2002：229-31） . 但我们一直回到 1925 年，这项技术创新虽然很少被视为电声史上的分水岭，但却产生了深远而深远的影响。那一年，美国电气工程师 Chester Rice 申请了一系列专利，为开发第一款商用扬声器奠定了基础。Rice 的主要专利描述了一种电磁扬声器 (US 1707570 A) 和相应的放大系统 (US 1728879 A)，是与他的同事 Edward Kellogg 合作开发的。在专利申请中，Rice 还认为 Kellogg 的无线电接收系统（US 1584551，错误地引用为 US 158455）对他的研究产生了直接影响。这些专利与电容器 (US 1714890 A) 一起使开发出第一款商业销售的扬声器成为可能。由美国无线电公司 (RCA) 作为 Radiola 扬声器型号销售