The bookophone is described in an earlier post here. It involves a paperback book and a bowing rod – preferably some kind of hollow tube, upon which the friction tone is amplified. The character of the tone derives somewhat from the choice of bowing rod.
Last Friday, a short bookophone piece called ‘Summer Song‘ was debuted on William English and Chris Weaver’s Weavelength (part of a series of Wavelength specials touching on cassette culture). All the sounds in this piece are created by four paperback books overdubbed together: ‘Social Anthropology in Perspective,’ Bird’s ‘Mathematical Formulae,’ ‘Great Mambo Chicken and the Transhuman Condition,’ and ‘Is it Just Me or is Everything Shit?‘. The books are played with plastic and chrome bows.
It appears that temperature affects the bookophone sound. Bookophones are generally deeply unplayable things and near-impossible to wrest a melody from, despite weeks of practice. In the summer season, books are apparently more stubborn than usual in producing tones, demanding a more vigorous action (as heard in this piece). This is perhaps because there is less discrepancy between the environmental warm temperature and the momentary heat caused by the bow friction(?). Dryness certainly deadens the tones. Anyways, it just means that in the summer, when playing the bookophone, you must really ‘give it some welly’.
I can’t seem to find any similar technique employed in making books ‘sing’, but surely over 500 years somebody must’ve tried something similar. Maybe a romantic poet? Incidentally, the very clever Maywa Denki laboratory has produced a musical electric book beating apparatus. (Maywa Denki received exposure in the UK some years ago with a memorable appearance of a self-playing acoustic guitar on BBC One’s Adam and Joe Go Tokyo.)