![]() Some notes on tone considerations in orthography are offered, as well as notes on procedures that proved useful in the diachronic study of tone in the Mondé languages. They were subsequently used in the study of other Amazonian languages, including Karitiana, Munduruku, Zoró, and Surui of Rondônia, with success. Methods were devised to map out the system of tone and length. Whistling of words by indigenous informants was discovered to be a very effective method for obtaining phonetic accuracy in tone and length. This paper describes the methods used to study the tone and some related phenomena of the language of the Gavião of Rondônia, Brazil, which is part of the Mondé branch of the Tupi family. This essay looks specifically at exhibitions at the Cornell University Museum and the American Museum of Natural History in order to amplify the ways that recorded natural sounds were embedded in the techniques and technologies of preservation, education, and entertainment. However, these new, "scientific" environmental sounds were implemented largely through representational paradigms that had been established by popular entertainment forms. Natural history museums added audio playback technologies to their static taxidermic displays in response to the rapid development of entertainment technologies outside of the museum, especially synchronized sound motion pictures. The development of mobile sound recording by the ornithologists at Cornell University reconfigured natural history knowledge and the way that knowledge was conveyed to the public. Historians and theorists have often identified the natural history museum as a primarily visual experience, but starting in the 1930s, museums were audiovisual spaces. These whistling practices present a new way to hear the history of recording technologies, identity politics, and the American environmental movement. ![]() It also traces how white professional performers drew on American environmental attitudes and the rhetoric of “nature” and “the natural” as a way to distance themselves from these stereotypes and establish themselves as legitimate artists and educators. This essay traces historical developments in the cultural attitudes surrounding whistling through its musical and nonmusical associations with a variety of “others,” including animals, African Americans, homosexuals, and the working poor. The most popular of these imitative techniques was performance whistling. Because sound recording technologies were confined to studio spaces and were generally immobile, popular performers adopted a variety of imitative techniques to transport listeners into scenes and settings that the technology itself could not access. The history of recorded natural sound is often posited as beginning with the capability of humans to record actual animals in their environment, but in fact this was a departure from the widespread and quite popular practices that preceded such technological developments. ![]()
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