Franco Fabbri, University of Milan and Conservatorio ‘A.Boito’, Parma
Our opening keynote for the conference is the much-loved Franco Fabbri, a much-celebrated musician, educator and musicologist. I was particularly interested to hear this one, because Franco is talking about Forensic Musicology, and with a particular focus on Italian case law.
Here’s my live-blog of his hour-long talk, with YouTube examples where I could find them:
Franco Fabbri: Conservatorio di Parma, Università di Milano (Italy)
Binaurality, stereophony, and popular music in the 1960s and 1970s
In the early days of stereo recording, engineers would often mix without headphones, even if the final mix was intended for binaural listening.
ABSTRACT: Stereophonic headphones were first marketed in the USA in 1958. Binaural listening (via headphones) became one of the favourite ways for fans to listen to rock albums in the late 1960s and early 1970s. Stereophonic mixes, however, were not necessarily designed for binaural listening. Sound engineers rarely used headphones, and generally preferred to mix without wearing them, with some explaining that they couldn’t get a proper balance if they didn’t listen to the studio monitors. Often they would listen to the result of a mix with cheap shelf loudspeakers, or even car loudspeakers, claiming that those would be the most common sound sources used by the audience; strangely enough, headphones were not used for this purpose in the studio. While the association and historical overlap of stereophonic mixes, advances in studio technology and consumer audio, and the rise of psychedelia and progressive rock have been commented (more in accounts on or by individual artists/bands/producers than in general terms) the issues of binaurality, of stereophony, and of their relations with popular music has seldom been explored. The paper will focus on the musicological aspects of binaurality and stereophony, both at poiesic and aesthesic levels.
Franco opens with a history of the study of binaurality, leading us to the development of stereo audio in the 50s/60s, which provided two [and this is key to what follows] separate channels. He makes the point about the difference between binaural listening on headphones (which separates the signals completely) and binaural listening (which includes phase/delay between the signals). In the earliest experiments in binaurality, headphones were used first – and listeners considered headphones more ‘realistic’ than speaker-based stereo. Headphones were also not an option in the early days of cinema (he cites Disney’s Fantasia as one of the earliest movies with 2 channel sound)… because of the social aspect. Franco illustrates “it was difficult to kiss your loved one in the cinema wearing headphones”!
Franco Fabbri, University of Milan and Conservatorio ‘A.Boito’, Parma
