Sound History and Public History

Sound History und Public History

 

Abstract: In the last few years, sound history has developed into a lively field of research within the science of history. Its relationship to public history, however, still seems to be undefined. On the one hand, many formats of public history – from television and radio documentaries through exhibitions up to audio walks and history apps – deliberately rely on auditory forms of representing and conveying history. On the other hand, a systematic analysis of the ways in which the auditory here works as a medium of history, however, still lacks. A particular aspect of this auditory mediation of history lies in the relationship to the past into which we are put, the moment we listen to historical voices.
DOI: dx.doi.org/10.1515/phw-2019-14742
Languages: English, German


In the last few years, sound history has developed into a lively field of research within the science of history. Its relationship to public history, however, still seems to be undefined. On the one hand, many formats of public history – from television and radio documentaries through exhibitions up to audio walks and history apps – deliberately rely on auditory forms of representing and conveying history. On the other hand, a systematic analysis of the ways in which the auditory here works as a medium of history, however, still lacks. A particular aspect of this auditory mediation of history lies in the relationship to the past into which we are put, the moment we listen to historical voices.

Voices of the 20th Century

“Das tritt nach meiner Kenntnis, … ist das sofort, unverzüglich.” (To my knowledge, this comes into force, … takes place immediately, right away.) This answer reluctantly uttered by Günter Schabowski in the famous press conference of 9 November 1989 was missing in hardly any of the television or radio documentaries broadcast in the last month about the 30th anniversary of the fall of the Berlin Wall. It belongs to the iconic sentences of the 20th century that have entered the auditory collective memory (at least in Germany). Even if one only reads it – even in its changed form in which, on the occasion of the anniversary of the fall of the Berlin Wall, it was projected onto the façade of the Heinrich Böll Foundation – it recalls the voice of Schabowski in our inner ear, the way, slightly hesitantly, it goes up a little when saying “immediately”. It is similar with other famous sentences of the last century, from “Wollt ihr den totalen Krieg?” (Do you want the total war?) through “Ich bin ein Berliner” (I am a Berliner) up to “Mr. Gorbachev, open this gate”. If we read them, then we also hear them.

Thomas Lindenberger years ago pointed out the specific epistemology of contemporary history as an era of audio-visual media: Contemporary history is not only the epoch of those who live at the time, but also the epoch in which this living at the time takes place through mass media, can be recorded in sound and vision and reproduced.[1] Only this recording made it possible that the aforementioned sentences have entered the collective memory in their acoustic shape. Through continual replaying, they shifted from the moment of the medial living at the time into the collective memory so that they trigger the mentioned auditory recognition effect with the future generations as well. This recognition effect is frequently made use of in products of public history these days in order to bring to mind history in auditory terms and to retrieve historical knowledge that is linked with famous sentences.

Auditory Presence Effect

But, where does this specific ability of these vocal testimonies to bring to mind their past come from? Already in the 1960s, the American Jesuit and literary scholar Walter Ong brought forward the argument that a sound, through its fleeting character, conveys presence in a particular way and establishes a personal relation between the listener and what has been heard:

“Sound, bound to the present time by the fact that it exists only at the instant when it is going out of existence, advertises presentness. It heightens presence in the sense of the existential relationship of person to person (I am in your presence; you are present to me), with which our concept of present time (as against past and future) connects: present time is related to us as is a person whose presence we experience. It is ‘here.’ It envelops us. Even the voice of one dead, played from a recording, envelops us with his presence as no picture can.”[2]

Ong’s metaphysics of presence and his concept of orality have been criticized for different reasons which shall not be recapitulated here in detail. The observation of a special ‘presence effect’ of hearing, however, remains untouched thereof.[3] This is, above all, true for hearing a voice and explains the particular fascination for the voices of deceased people which has accompanied the phonography from the very beginning. Already in 1900, the early sound archives started to preserve the voice portraits of famous personalities for posterity.[4] The basic assumption behind this was that personality and character find expression in the human voice, that in the sound of the voice the person as a whole can be recognized, and this in an unmistakable way. If one could replay the voices after the death of their originators, the person as such, as a consequence of this, would be brought to mind once again.

Voice and Person

The wide-ranging assumptions of the voice physiognomy of the early 20th century that closely linked the voice and the character can hardly be maintained anymore these days.[5] But it can still be argued that in the recorded voice a kind of imprint of the person is preserved which transports more of the respective person than, for example, a transcript of what has been said.  What is generated by the voice is connected to the body of the originator, to the diaphragm and speech apparatus, and therefore Sybille Krämer speaks of the voice as the “trace of the body in the language”.[6] On the other hand, the voice transports other than physical also emotional states. Tone pitch, speaking rate, speech melody etc. give away something about the emotional mood or, at least, the intended emotional expression of a speaker. We are then again receptive for these physical and emotional parts of the spoken language because the voice is a direct interpersonal means of communication. As a social phenomenon it establishes a relation between the speaker and the person spoken to. We also experience this being spoken to, this character of the voice as “address, appeal and call”[7] in the asymmetrical communication situation with a historical sound document. The historical actors here talk to us in an immediate sense.

The Necessity of Source Criticism

The recognition effect of the famous quotes described at the beginning does not solely rely on this sensual and quasi-social quality of historical voices. The other way around, not everybody feels personally addressed by Günter Schabowski when hearing the famous sentence once more. The prominent role that these sentences play in the medial mediation of history has, however, also to do with the described auditory presence effect. This presence effect might also be deceptive. Since, even if we undoubtedly hear sounds from the past in historical sound documents and when these are thus brought to our mind, the sound documents do not actually, in an unfiltered way, reproduce ‘how it has, in fact, been’ or has sounded, respectively. We much rather deal – as well as with written or visual sources – with specific excerpts of the past which, under very specific conditions, with specific techniques and intentions, were recorded, had a very specific fate of tradition and can be replayed under specific technical conditions today. A critical discussion about the role of historical voices in public history thus also needs a source-critical dealing with historical sound documents.[8]

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Further Reading

  • Morat, Daniel, and Hansjakob Ziemer (Eds.), Handbuch Sound. Geschichte – Begriffe – Ansätze. Stuttgart/Weimar: J. B. Metzler, 2018.
  • Paul, Gerhard, and Ralph Schock (Eds.), Sound des Jahrhunderts. Geräusche, Töne, Stimmen 1889 bis heute. Bonn: bpb, 2013.
  • The Public Historian, special issue on Sound, Vol. 37, No. 4, 2015.

Web Resources

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 [1] Thomas Lindenberger, “Vergangenes Hören und Sehen. Zeitgeschichte und ihre Herausforderung durch die audiovisuellen Medien,” Zeithistorische Forschungen/Studies in Contemporary History 1, no. 1 (2004): 72-85.
[2] Walter J. Ong, The Presence of the Word. Some Prolegomena for Cultural and Religious History (New Haven/London: Yale University Press, 1967), 101.
[3] Joshua Gunn, “On Recording Performance, or: Speech, the Cry, and the Anxiety of the Fix,” Liminalities: A Journal of Performance Studies 7, no. 3 (2011): 1–30, 6: “Regardless of the truth or falsity of the attribution of presence to speech, human utterance nevertheless has what we might term ‘presence effects,’ which we respond to in meaningful ways.” Cf. on the term of the effect of presence also Hans Ulrich Gumbrecht, Diesseits der Hermeneutik. Die Produktion von Präsenz (Frankfurt am Main: Suhrkamp, 2004).
[4] Jonathan Sterne, The Audible Past. Cultural Origins of Sound Reproduction (Durham/London: Duke University Press, 2003), 287-333.
[5] Cf. on these voice-physiognomic assumptions Reinhart Meyer-Kalkus, Stimme und Sprechkünste im 20. Jahrhundert (Berlin: Akademie-Verlag, 2001).
[6] Sybille Krämer, “Die ‘Rehabilitierung der Stimme’. Über die Oralität hinaus,” Stimme. Annäherung an ein Phänomen, eds. Doris Kolesch und Sybille Krämer (Frankfurt am Main: Suhrkamp, 2006), 269-295, 275.
[7] Ebd., 284.
[8] Cf. Daniel Morat und Thomas Blanck, “Geschichte hören. Zum quellenkritischen Umgang mit historischen Tondokumenten,” Geschichte in Wissenschaft und Unterricht 66, no. 11/12 (2015): 703-726. Martin Lücke und Irmgard Zündorf (Hg.), Einführung in die Public History (Göttingen: Vandenhoeck & Ruprecht, 2018): 70-74.

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Image Credits

Ab sofort! © 2019 Julian Jungel, CC BY-NC-SA 4.0.

Recommended Citation

Morat, Daniel: Sound History and Public History. In: Public History Weekly 7 (2019) 30, DOI: dx.doi.org/10.1515/phw-2019-14742.

Translation

Kurt Brügger, swissamericanlanguageexpert, https://www.swissamericanlanguageexpert.ch/.

Editorial Responsibility

Christian Bunnenberg / Peter Gautschi (Team Lucerne)

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Categories: 7 (2019) 30
DOI: dx.doi.org/10.1515/phw-2019-14742

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