1,483 Royalty-Free Audio Tracks for "Audio Files Of Songs"

Phonograph cylinder recording from Filaret Kolessa collection. Pro smert kozaka (song) (fragment). Performed by Stepan Pasiuha. Phonograph operated by Opanas Slastion. Date: 1909. Instrument: kobza Українська: Фонографічний запис із колекції Філарета Колесси. Пісня «Про смерть козака» (фрагмент). Виконує Степан Пасюга. Записувач(-і): Опанас Сластьон. Рік запису: 1909. Інструмент: кобза

Phonograph cylinder recording from Filaret Kolessa collection. Song Letila pava, letila (fragment). Performed by Melaniya Dankovska. Phonograph operated by Filaret Kolessa. Date: 1912. Instrument: none Українська: Фонографічний запис із колекції Філарета Колесси. Пісня «Летіла пава, летіла» (фрагмент). Виконує Меланія Даньковська. Записувач(-і): Філарет Колесса. Рік запису: 1912. Інструмент: немає

Phonograph cylinder recording from Filaret Kolessa collection. This file contains the raw (unprocessed) signal from the cylinder no. 10, played at rate of 90 rpm, and is provided for research purposes. To hear the corresponding processed recording, please open File:Mykhailo Kravchenko - Pro divku-branku (song).flac. Українська: Фонографічний запис із колекції Філарета Колесси. Цей файл містить «сирий» (необроблений) сигнал фоновалика № 10, відтворений на швидкості 90 обертів на хвилину. Цей файл збережено для дослідницьких цілей. Щоб послухати опрацьований запис, будь ласка відкрийте: File:Mykhailo Kravchenko - Pro divku-branku (song).flac.

Phonograph cylinder recording from Filaret Kolessa collection. Song Tam za nashom khyzhom (fragment). Performed by Melaniya Dankovska. Phonograph operated by Filaret Kolessa. Date: 1912. Instrument: none Українська: Фонографічний запис із колекції Філарета Колесси. Пісня «Там за нашом хижом» (фрагмент). Виконує Меланія Даньковська. Записувач(-і): Філарет Колесса. Рік запису: 1912. Інструмент: немає

Song: "La Morocha" (milonga-tango).- Author: Angel Villoldo (1861-1919) - Enrique Saborido (1877-1941).- Interpreter: Libertad Lamarque.- Rec. RCA, 1938, Buenos Aires Tema: "La Morocha" (milonga-tango).- Autor: Angel Villoldo (1861-1919) - Enrique Saborido (1877-1941).- Interprete: Libertad Lamarque.- Grab. RCA, 1938, Buenos Aires

Taps played on the bugle by a member of the U.S. Army Band. It is played by the U.S. military nightly to indicate that it is "lights out". Taps became an official component of military funerals in 1874. The song accompanies a funeral procession at Arlington National Cemetery, and is generally present at most funerals.

St. Louis Blues March performed by the Shades of Blue jazz ensemble of the United States Air Force Band of Mid-America. Track 5 from Heroes Lost And Fallen (1997). Recorded January 28-31, 1997 at the Scottish Rite Cathedral, St. Louis, Missouri. Major Sam Pohl, conducting.[1][2][3][4][5]

The national anthem of the United States, originally the music of "Anacreon", as performed instrumentally by the United States Navy Band in the 1990s. Featured on the 1990s album Music For Honors and Ceremonies. El himno nacional de los Estados Unidos, interpretado por la Banda de la Armada de los Estados Unidos. L'hynme national des États-Unis d'Amérique, à l'origine musique de la chanson à boire, The Anacreontic Song, interprété par l'orchestre de la marine nationale des États-Unis. Nederlands: Het Volkslied van de Verenigde Staten, gespeeld door het Amerikaanse Marine orkest.

The national anthem of the United States, originally the music of "Anacreon", as performed instrumentally by the United States Navy Band in the 1990s. Featured on the 1990s album Music For Honors and Ceremonies. El himno nacional de los Estados Unidos, interpretado por la Banda de la Armada de los Estados Unidos. L'hynme national des États-Unis d'Amérique, à l'origine musique de la chanson à boire, The Anacreontic Song, interprété par l'orchestre de la marine nationale des États-Unis. Nederlands: Het Volkslied van de Verenigde Staten, gespeeld door het Amerikaanse Marine orkest.

An a cappella, choral arrangement of the traditional American folk song "Shenandoah" performed by the Singing Sergeants of the United States Air Force Band. Track 9 from America (2017). Recorded between January 2015 and March 2017 at Rachel M. Schlesinger Concert Hall, Joint Base Anacostia-Boiling, and Bias Studios. Featuring soloist Master Sgt. Emily Wellington.[1]

In the shade of the palm from Leslie Stuart and Owen Hall's Florodora. Sung by Frank C. Stanley in 1902. This is Edison Gold Moulded Record #8066. Other titles for this song include: In the shade of the sheltering palm Shade of palms There is a garden fair Florodora was the first big hit musical of the 20th century. "Tell me pretty maiden" was the runaway hit, with "In the shade of the sheltering palm" also quite popular.

Phonograph cylinder recording from Filaret Kolessa collection. Song Nema v sviti pravdy (fragment no. 2). Performed by Hnat Honcharenko. Phonograph operated by Lesia Ukrainka, Klyment Kvitka. Date: 1908. Instrument: bandura Українська: Фонографічний запис із колекції Філарета Колесси. Пісня «Нема в світі правди» (фрагмент № 2). Виконує Гнат Гончаренко. Записувач(-і): Леся Українка, Климент Квітка. Рік запису: 1908. Інструмент: бандура

Phonograph cylinder recording from Filaret Kolessa collection. Song Nema v sviti pravdy (fragment no. 1). Performed by Hnat Honcharenko. Phonograph operated by Lesia Ukrainka, Klyment Kvitka. Date: 1908. Instrument: bandura Українська: Фонографічний запис із колекції Філарета Колесси. Пісня «Нема в світі правди» (фрагмент № 1). Виконує Гнат Гончаренко. Записувач(-і): Леся Українка, Климент Квітка. Рік запису: 1908. Інструмент: бандура

Oh! How I Hate to Get Up in the Morning, a song by Irving Berlin produced on U.S. Army time for the Army benefit show, Yip Yip Yaphank (1918). This recording, by Irving Kaufman, is from about 1919 - the University of California Santa Barbara gives it as "191-", and it cannot, of course, predate the song. While the sound quality is somewhat poor, the lyrics used here are likely nearer that sung in Yip Yip Yaphank than the standard ones given in the sheet music, making it useful. This is Indestructible Record #1569.

Oh! How I Hate to Get Up in the Morning, a song by Irving Berlin produced on U.S. Army time for the Army benefit show, Yip Yip Yaphank (1918). This recording, by Irving Kaufman, is from about 1919 - the University of California Santa Barbara gives it as "191-", and it cannot, of course, predate the song. While the sound quality is somewhat poor, the lyrics used here are likely nearer that sung in Yip Yip Yaphank than the standard ones given in the sheet music, making it useful. This is Indestructible Record #1569.

The Canadian national anthem, "O Canada", played by the United States Navy Band in the early 2000s. The song was originally commissioned by Lieutenant Governor of Quebec Théodore Robitaille for the Saint-Jean-Baptiste Day ceremony, 1880. The music was written by Calixa Lavallée as a setting of a French Canadian patriotic poem composed by Sir Adolphe-Basile Routhier. The lyrics were translated to English in 1906, Robert Stanley Weir wrote another English version in 1908, which were revised thrice before taking their current form in 2018. Was converted to Ogg format using Audacity (Originally uploaded on en.wikipedia).

Oh! How I Hate to Get Up in the Morning, a song by Irving Berlin produced on U.S. Army time for the Army benefit show, Yip Yip Yaphank (1918). I believe the version used in the show used the opening verse from the Irving Kaufman recording; the opening verse here was probably made for publication. This is Edison Blue Amberol #3639, which was created using Edison Diamond Disc matrix #6287.

Euskara: 2010. urtean konposatu zuten Mikel eta Poti Rekartek, hitzak Txomin eta David Mindegiak, Mikel Rekartek; Armonizazioa eta partitura Ainhoa Sanz eta Cecilia Otaegik; ahots nagusia Alberto Zunzarren, koruak Xabier Bañares, Pascual Bertiz, Joxe Irigoien, Juan Telletxea, Javiertxo eta Lorena Almandoz, Pablo Elizondo, Ibai Marizkurrena, Mikel Rekarte, Izaro Martín, Maite Urreaga, Maialen Zamorano, Ainhoa San Miguel eta Maitane Larretxea. Perkusioan Mikel Rekarte, bibolina Cecilia Otaegi, pianoan Ainhoa Sanz. Hitzak: Doneztebe aldean sortu zen lainopean, kirola du helburu, guztiok elkarlanean. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Kirola du helburu, guztiok elkarlanean. Himno compuesto en 2010 por Mikel y Poti Rekarte, letra de Txomin y David Mindegia, Mikel Rekarte; Arreglo y partitura Ainhoa Sanz y Cecilia Otaegi; voz principal Alberto Zunzarren, coros Xabier Bañares, Pascual Bertiz, Joxe Irigoien, Juan Telletxea, Javiertxo y Lorena Almandoz, Pablo Elizondo, Ibai Marizkurrena, Mikel Rekarte, Izaro Martín, Maite Urreaga, Maialen Zamorano, Ainhoa San Miguel y Maitane Larretxea. A la percusión Mikel Rekarte, violinista Cecilia Otaegi, pianista Ainhoa Sanz. Letra: Doneztebe aldean sortu zen lainopean, kirola du helburu, guztiok elkarlanean. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Kirola du helburu, guztiok elkarlanean.

Daisy Bell sung by the DECtalk speech synthesizer. Using v4.61.02 for Windows. In G major at 200BPM, roughly. The input code is as follows: [:phoneme on] [d<40,27> ey<860> z<40,24> iy<860> d<40,20> ey<860> z<40,15> iy<860>] [g<40,17> ih<220> v<40> m<40,19> iy<260> yx<40,20> or<260> ae<300,17> en<300> s<40,20> rr<260> d<40,15> uw<860> _<900>] [ay<860,22> m<40> hx<40,27> ae<810,27> f<30> k<30,24> r<30> ey<860> z<40,20> iy<860>] [ao<200,17> el<100> f<40,19> or<260> dh<40,20> ax<260> l<40,22> uh<560> v<40,24> ax<260> v<40,22> yu<860> _<600,24>] [ih<260,24> tx<40> w<40,25> ow<180> n<40> t<40> b<40,24> iy<260> ax<260,22> s<40> t<40,27> ay<560> l<40,24> ih<220> sh<40> m<40,22> ae<60> ae<100,24> ae<100,22> r<40,20> ih<560> jh<40> _<560,22>] [ay<300,22> k<40,24> ae<520> en<40> t<40,20> ax<260> f<40,17> or<560> d<40,20> ax<260> k<40,17> ae<260> r<40,15> ih<560> jh<40> _<560>] [b<40,15> uh<220> tx<40> yu<560,20> d<40> l<40,24> uh<210> k<30> s<30,22> w<30> iy<260> t<40> _<560,20>] [aa<560,20> en<40> dh<40,24> ax<260> s<40,22> iy<260> t<40> _<260,22>] [ah<150,24> v<40,25> ax<110> b<40,27> ay<260> s<40,24> ih<260> k<40,20> el<260> b<40,22> ih<260> el<260> tx<40> f<40,15> or<250> t<10> t<40> uw<860,20> _<900>]

Song: "La morocha" (tango).- Author: Angel Villoldo (1861-1919) - Enrique Saborido (1877-1941).- Interpreter: Singer: Ada Falcón, Orq: Francisco Canaro.- Rec. Odeon 165980B, Buenos Aires, 1929 Tema: "La morocha" (tango).- Autor: Angel Villoldo (1861-1919) - Enrique Saborido (1877-1941).- Interprete: Cantante: Ada Falcón, Orq: Francisco Canaro.- Grab. Odeon 165980B, Buenos Aires, 1929

Song: "Ay, ay, ay (Reminiscencias cuyanas)".- Author: Osmán Pérez Freire (1880-1930).- Interpreter: Carlos Gardel & José Razzano.- Rec: RCA, Matriz 55, 18016, Buenos Aires, 1919. Tempo: vidalita Tema: "Ay, ay, ay (Reminiscencias cuyanas)".- Autor: Osmán Pérez Freire (1880-1930).- Interprete: Carlos Gardel & José Razzano.- Grab: RCA, Matriz 55, 18016, Buenos Aires, 1919. Tiempo de vidalita.

Song: "Flor de fango" (tango). Author: Lyrics: Pascual Contursi (1898-1932) Music: Augusto Gentile (1891-1932), Interpretr: Carlos Gardel; Guitar: José Ricardo; Rec: Odeon 18012 B, Buenos Aires, Buenos Aires, 1918 Tema: "Flor de fango" (tango). Autor: Letra: Pascual Contursi (1898-1932) Musica: Augusto Gentile (1891-1932), Interprete: Carlos Gardel; Guitarra: José Ricardo; Grab: Odeon 18012 B, Buenos Aires, Buenos Aires, 1918

Song: "Desdichas" (tango). Author: Pascual Contursi (1898-1932) - Augusto Gentile (1891-1932).- Interpreter: Singer: Carlos Gardel; Guitars: J. Ricardo y G. Barbieri.- Rec. Odeon (Disco Nacional) 18087 B, Buenos Aires, 1923 Tema: "Desdichas" (tango). Autor: Pascual Contursi (1898-1932) - Augusto Gentile (1891-1932).- Interprete: Cantor: Carlos Gardel; Guitarras: J. Ricardo y G. Barbieri.- Grab. Odeon (Disco Nacional) 18087 B, Buenos Aires, 1923

Come Down Ma Evenin' Star from John Stromberg's Twirly Whirly (1902), performed by Lillian Russell. During the production of Twirly Whirly, John Stromberg delayed giving Lillian Russell her solo for several days, saying it wasn't ready. When he committed suicide a few days before the first rehearsal, the sheet music for Come Down Ma Evenin' Star was found in his pocket. It became Lillian Russell's signature song, and is the only one she is known to have recorded.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

These are two guitar solo outtakes from a guest guitar session i was asked to be on. They essentially wanted that early era slayer vibe where there is more cacophonous noise than structure. I think i recorded 15-20 for two sections in one song. They chose two other files and this was the one i liked best to keep as a memento. I am the creator and owner of the audio contained within the file. I know guitarists these days want to sound like an andy sneap plugin, but this may give someone a different idea. Within the context of the song they were for they fit well. I'm not apologizing for the playing or quality of the recording. Just something i did for a friend that took me 4x as long to set up than total time under the red light. It was fun.

Hausa: Full song album of the movie Babul (1950). Babul is a 1950 Bollywood film directed by S.U. Sunny produced and with music direction by Naushad. The film stars Dilip Kumar, Munawar Sultana and Nargis. Track Names: 1. Kisi Ke Dil Mein Rahna Tha 2. Lagan More Man Ki 3. Mera Jeevan Saathi Bichhad Gaya 4. Na Socha Tha Yeh 5. Milte Hi Ankhen Dil Hua Diwana 6. Panchhi Ban Mein 7. Husn Walon Ko Na Dil Do 8. Jadoo Bhare Nainon Men 9. Nadi Kinare 10. Duniya Badal Gayi 11. Dhadke Mera Dil 12. Chhod Babul Ka Ghar

Title Christian Mass, Prelude, Organ play and singing Artist stephan Original mp3 data Length:1:56 minutes (2.21 MB) Format:MP3 Stereo 44kHz 160Kbps (CBR) User tags Christianity, Church, ecumenical, Hymn, Mass, Music, Organ play, Parish, People, Prelude, Religion, singing Type Single Subject, Natural PDSounds record number 291 Comment May 27, 2007 - Church of Christ the King (1927), Leverkusen, Germany. Prelude to the mass. First the organ plays alone, while some people are still taking their seats in the pews. Then the parishioners start to sing (a bit reluctantly) with the organ play. The song has been shortened by me from 4 strophes to 1. Many thanks to minister and organist of this mass for the permission to record.

Livery Stable Blues by the Original Dixieland Jass Band, recorded on 26 February 1917. It was released on the Victor label on 7 March 1917, and was the first released jazz recording. 78 RPM, transferred to .ogg from a .mp3 file from The Internet Archive. Die erste kommerzielle Jazz-Aufnahme: Livery Stable Blues, der Original Dixieland Jass Band, von 1917. Le premier enregistrement commercial de jazz : Livery Stable Blues en 1917, par l’Original Dixieland Jass Band. Italiano: La prima registrazione commerciale di musica Jazz: Original Dixieland Jass Band, Livery Stable Blues, del 1917 Norsk nynorsk: Jazz-songen «Song from a Cotton Field» av Bessie Brown

A chantar m'er de so qu'eu no volria, a 12th century Occitan language song by Comtessa de Dia. It is the only surviving music by a woman troubadour. Català: La seva cançó "A chantar m'er de so qu'eu no volria", és l'única peça trobadoresca d'autoria femenina la música de la qual sobreviu intacta. "A chantar m'er de so qu'eu no volria", ein Lied des 12. Jahrhunderts in okzitanischer Sprache von der Comtessa de Dia, ist die einzige überlieferte Melodie eines weiblichen Trobadors. "A chantar m'er de so qu'eu no volria", la única canción existente por una trovadora occitania que ha llegado hasta nuestros días con música, por Comtessa de Dia. Galego: A súa canción "A chantar m'er de so qu'eu no volria", é a única peza trobadoresca dunha muller que chegou até nos con a música que acompañaba. Македонски: „Морам да пејам за она што не сакам“ (A chantar m'er de so qu'eu no volria) - трубадурска песна на окситански јазик од XII век. Автор е грофицата Беатриса де Дија. Ова е единствената зачувана песна на жена-трубадур. Occitan : Sa cançon "A chantar m'er de so qu'eu no volria", es la sola peça trobadoresca d'una femna que se ne siá servada intacta la musica. Português: "A chantar m'er de so qu'eu no volria" por Comtessa de Dia, a única canção por uma trovadora, que sobrevive com música. "A chantar m'er de so qu'eu no volria" av Grevinnan de Dia är den enda sång skriven av en kvinnliga trobadourerna som idag finns bevarad med både text och musik.

China’s first official anthem was used in the last months of the Qing dynasty. The anthem was by Bo Tong, a high-ranking officer of the Imperial Guard and Yan Fu, commander of the Qing Navy. Guo Cengxin, Master of Ceremonies, made some minor adjustments and arranged the music. The primary purpose of the anthem was to advocate the Qing Dynasty and create a sense of well-being among the Chinese. The anthem was officially adopted on October 4, 1911, but was used for centuries beforehand in official Qing dynasty functions, going back to when Emperor Kang Xi was crowned in 1675. It’s official use as China’s royal anthem was short-lived, as the Wuchang Uprising, meant to end China’s imperial era, started six days after the anthem was officially adopted. The Republic of China was created on January 1, 1912 and the emperor abdicated on February 12. As such, the anthem did not gain much notoriety in China. “Gong Jin’ou” was made the anthem again in 1917 for 12 days when a former Qing general started a coup and reinstated the Qing Dynasty. Since this was used as a praise to the emperor, this is also a royal anthem. This song was banned in Communist China after 1949, but the ban is now lifted (probably after 1978).

Votre Toast ("The Toreador Song") from Carmen performed by the Singing Sergeants and Concert Band of the United States Air Force Band. Track 11 from Fire Dance (2012). Recorded October 24-27, 2011 at Holland Performing Arts Center, Peter Kiewit Concert Hall, Omaha, NE. Credits: Alto Saxophone – MSgt Jeremy Koch*, CMSgt William Marr* Alto Vocals – SMSgt Angela L. Burns*, TSgt Emily Lewis*, TSgt Julia Brundage*, SMSgt Linda C. Waring* Baritone Saxophone – TSgt Ricky Parrell* Bass Clarinet – MSgt John Romano* Bass Trombone – MSgt Jay Heltzer* Bass Vocals – TSgt Benjamin Park*, MSgt Eric Sullivan*, MSgt Matthew Irish*, SMSgt Robert S. Harrelson*, MSgt Ryan Dolan* Bassoon – TSgt Eddie Sanders III*, TSgt Sandy Sisk* Cello – Erin Espinoza, Justin Lewis (7) Choir – Singing Sergeants (tracks: 6-12) Clarinet – TSgt Ani Berberian*, TSgt Benjamin Bowers*, MSgt Brian McCurdy*, TSgt Brian Wahrlich*, SMSgt David Stump*, MSgt Julianna Evans Arnold*, TSgt Laura Henry*, MSgt Melinda Burts*, TSgt Sara Wollmacher* Clarinet [Eb] – TSgt J. Blake Arrington* Conductor – Col A. Phillip Waite*, Colonel Larry H. Lang* Cornet, Trumpet – TSgt Blakely Carroll*, MSgt Christian Pagnard*, SMSgt Curt Christensen*, TSgt Kristopher Westrich*, SMSgt Robert McConnell*, TSgt Valentin Lukashuk* Double Bass [String Bass] – SMSgt Chris Kosky*, MSgt Matthew Murray* English Horn – TSgt Kevin Darrow* Ensemble – The United States Air Force Concert Band* Euphonium – MSgt Jennifer Dayton Cox*, TSgt John Cox* Flute – MSgt Jennifer Moore*, SMSgt Stacy Newbrough Ascione* French Horn – TSgt Joel Wealer*, SMSgt Kent Wyatt*, MSgt Philip Krzywicki*, SSgt S. Renee Parcell*, MSgt Tara Islas* Harp – SMSgt Eric Sabatino* Keyboards – SMSgt Mitchell Morton* Oboe – TSgt Kevin Darrow*, MSgt Tracey MacDonald* Percussion – TSgt Adam Green*, MSgt (Ret) Aubrey Adams*, MSgt Joe Reynolds*, MSgt Marc Dinitz*, TSgt Randy Gorman* Piccolo Flute – TSgt Megan Neal* Soprano Vocals – MSgt Anne Seaton Baker*, CMSgt Carol Hawkins Wiley*, SMSgt Christine Adamick Germain*, TSgt Mandi Harper*, SMSgt Robin Askew McConnell* Tenor Saxophone – MSgt Jake McCray* Tenor Vocals – MSgt Bradley S. Bennett*, TSgt Joseph Haughton*, TSgt Taylor Armstrong* Timpani – SMSgt Erica Montgomery* Trombone – TSgt David Rosengaft*, TSgt Matthew Nudell*, SMSgt Michael Piersol* Tuba – MSgt Brian Sands*, CMSgt Jan Duga*

An excerpt from the song “Au clair de la lune”, originally recorded as a phonautogram on paper. As of May 2009, this is believed to be the oldest recognizable recording of a human voice in existence. According to the remasterers, the lyrics sung are the first lines of the second stanza "Au clair de la lune, Pierrot répondit" (Under the moonlight, Pierrot replied).[1] It has also been reported that the recording contains the beginning of the song, "Au clair de la lune, mon ami Pierrot..." (Under the moonlight, my friend Pierrot...).[2] Ausschnitt aus dem Lied “Au clair de la lune”, ursprünglich als Phonautogramm auf Papier aufgezeichnet. Per 2008 gilt diese Aufzeichnung als die älteste bekannte Tonaufnahme. Die gesungenen Worte lauten: "Au clair de la lune, Pierrot répondit" (Bei des Mondes Scheine, antwortet Pierrot), oder "Au clair de la lune, mon ami Pierrot..." (Bei des Mondes Scheine, mein Freund Pierrot...). Un extrait de la chanson “Au clair de la lune”, telle qu'enregistrée sur papier sous forme de phonautogramme. À la date de mai 2009, on le considère comme le plus ancien enregistrement d'une voix humaine reconnaissable. D'après les restaurateurs, les paroles correspondent aux premières lignes de la seconde strophe : « Au clair de la lune, Pierrot répondit ».[3] D'autres estiment qu'il s'agit plutôt du début de la chanson : « Au clair de la lune, mon ami Pierrot ».[4] Čeština: Skladba Au clair de la lune (Za svitu luny), nahraná Édouardem-Léonen Scotem de Martinville v roce 1860, je považována za historicky nejstarší zvukovou nahrávku vůbec. Македонски: Песната На месечевиот сјај (Au clair de la lune) снимена од Едуар Леон Скот де Мартенвил во 1860 г. Се смета за најстарата постоечка звучна снимка во историјата. Fragment popularnej francuskiej piosenki Au clair de la lune (pol. W świetle księżyca) zarejestrowany jako fonautogram w 1860 roku przez Édouarda-Léona Scotta de Martinville'a, który uznawany jest za najstarsze istniejące nagranie ludzkiego głosu.