ED287487.Pdf
DOCUMENT RESUME ED 287 487 IR 052 164 AUTHOR Almquist, Sharon G. TITLE Sound Recordings and the Library. Occasional Papers Number 179. INSTITUTION Illinois Univ., Urbana. Graduate School of Library and Information Science. PUB DATE Aug 87 NOTE 41p. AVAILABLE FROMGraduate School of Library and Information Science, Publications Office, University of Illinois at Urbana-Champaign, 249 Armory Building, 505 E. Armory Street, Champaign, IL 61820 ($3.50 per copy; subscriptions are available). PUB TYPE Historical Materials (060) -- Information Analyses (070) EDRS PRICE MF01 Plus Postage. PC Not hvailable from EDRS. DESCRIPTORS *Aw2iodisks; Audio Equipment; *Audiotape Recordings; Library Circulation; *Library Collection Development; *Library Collections; Library Facilities; Optical Disks; *Technological Advancement; Users (Information) ABSTRACT The basic concept that sound waves could be t:aced or recorded on a solid object was developed separately by Leon Scott, Charles Cros, and Thomas Alva Edison between 1857 and 1877 and, by 1890, the foundation of the present-day commercial record industry was established. Although cylinders were the first sound recordings to be sold commercially, discs were introduced in 1894 and ultimately became more popular. The library collection of sound recordings began with the founding of the Sadie Knowland Coe Music Collection at the Evanston Public Library in 1907 during the acoustic, or pre-electric era (1877-1925) when recordings were still made and reproduced by mechanical means. Following the introduction of electrical recordings, more libraries inaugurated record collections, albeit with some caution, and by the 1940s, the idea that collections of records belonged in libraries had won acceptance. The convenience of the long-playing (LP) record, introduced in 1948, appealed to the public and librarians alike; and stereo, introduced publicly 10 years later, provided the final great improvement for pre-1980s audio recordings.
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