In the period immediately following the invention of sound recording, who first had the idea to record, collect and study the voices of poets? The Poetic Record tells the story of voice collectors and poets working together to preserve this important dimension of sonic, musical and literary history. The book examines the varying relationships between recordists of sound (early record labels, linguists) and performed poetry and historicises the contemporary practice of collecting, archiving and interpreting literary audio.
Chris Mustazza is Co-Director of the PennSound Archive, the world’s largest archives of recordings of poets, and he teaches in the English department at the University of Pennsylvania. His research focuses on the history of literary audio, sonic media archaeology, and digital analyses of poetry recordings.
Introduction: Speech Collectors1. ‘La parole au timbre juste’: Experimental Phonetics, Modernism, and the Poetic Voice as Data2. ‘The Higher Vaudeville’: American Record Labels’ Relationship to the Spoken Word3. For ‘teachers, students, and other lovers of literature’: The rise of the academic poetry audio archive4. The Phono-scriptural Economy: Monopolies of Knowledge, Oppositional Poetics & Medial DetournementConclusion: Tape to Tap and Vice VersaBibliographyIndex