This article explores the early development of Japan’s recording industry, focusing on locally driven “minor transnational engagements” between emerging Japanese record companies and foreign recording experts. The initial phase of Japan’s recording history mirrored the pattern in most countries from the early 1900s, with major record companies organizing international recording expeditions equipped with new acoustic disc recording technology. However, it was homegrown firms in the 1910s, especially the Nipponophone Company (Nihon Chikuonki Shōkai 日本蓄音器商會), that positioned themselves as the main producers of Japanese titles and gramophones. In the second half of the 1920s, the industry evolved further with the introduction of electrical recording technology, and Japanese record companies embraced it by partnering with international labels to establish multinational ventures. With a focus on the acoustic recording era of the 1910s and early 1920s, this article investigates Nipponophone’s recruitment of foreign recording experts, who not only shared their technical knowledge but also served as strategic conduits for expanding the company’s presence across regional and international markets. Nipponophone and other domestic record companies grew through expert collaborations and secondhand emulation. Their efforts, rather than global campaigns led by the multinational major labels, played a decisive role in shaping Japan’s early recording industry.

This article describes the methods and arguments of Hearing the Americas, a digital public history project that illuminates the history of popular music and the recording industry from 1890 to 1925. We argue that the use of digital tools allows the website to integrate sound directly into writing on music and thereby explicate a series of historical arguments. The article examines three arguments advanced by Hearing the Americas, showing in each case how digital tools generate new insights. The first case uses mapping to reveal some of the specific ways in which the economic and social context of Jim Crow shaped the experiences of Black performers; the second integrates sound and text to reveal the origins of certain blues conventions in the racist stereotypes of minstrel shows; and the final case uses digital tools to argue that the marketing strategies of the recording industry throughout the Americas helped produce a key shift in patterns of globalization.