The Art of Sound


Author: Jack Sacher

Publisher: Prentice Hall

ISBN: MINN:319510023871283

Category: Music appreciation

Page: 332

View: 302

Understanding the Art of Sound Organization

This has led to key works, including his well-known title, Audio-vision: Sound on Screen (Chion 1990) and his books ... He has also presented his ideas behind musique concrète in La musique électroacoustique (Chion 1982) and L'art des ...


Author: Leigh Landy

Publisher: MIT Press

ISBN: 9780262260909

Category: Music

Page: 318

View: 642

The first work to propose a comprehensive musicological framework to study sound-based music, a rapidly developing body of work that includes electroacoustic art music, turntable composition, and acoustic and digital sound installations. The art of sound organization, also known as electroacoustic music, uses sounds not available to traditional music making, including prerecorded, synthesized, and processed sounds. The body of work of such sound-based music (which includes electroacoustic art music, turntable composition, computer games, and acoustic and digital sound installations) has developed more rapidly than its musicology. Understanding the Art of Sound Organization proposes the first general foundational framework for the study of the art of sound organization, defining terms, discussing relevant forms of music, categorizing works, and setting sound-based music in interdisciplinary contexts. Leigh Landy's goal in this book is not only to create a theoretical framework but also to make the work more accessible—to suggest a way to understand sound-based music, to give a listener what he terms “something to hold on to,” for example, by connecting elements in a work to everyday experience. Landy considers the difficulties of categorizing works and discusses such types of works as sonic art and electroacoustic music, pointing out where they overlap and how they are distinctive. He proposes a “sound-based music paradigm” that transcends such traditional categories as art and pop music. Landy defines patterns that suggest a general framework and places the studies of sound-based music into interdisciplinary contexts, from acoustics to semiotics, proposing a holistic research approach that considers the interconnectedness of a given work's history, theory, technological aspects, and social impact. The author's ElectroAcoustic Resource Site (EARS,, the architecture of which parallels this book's structure, offers updated bibliographic resource abstracts and related information.

The Art of Sound Reproduction

It ofors you a unique opportunity to practice the art of listening to sounds. With practical exercises Under realistic Conditions, the trainee Sound engineer can practice what it is like to record both in the studio and on location.


Author: John Watkinson

Publisher: Taylor & Francis

ISBN: 9781136118531

Category: Technology & Engineering

Page: 576

View: 840

Designed to make life a little easier by providing all the theoretical background necessary to understand sound reproduction, backed up with practical examples. Specialist terms - both musical and physical - are defined as they occur and plain English is used throughout. Analog and digital audio are considered as alternatives, and the advantages of both are stressed. Audio is only as good as the transducers employed, and consequently microphone and loudspeaker technology also feature heavily - making this the most comprehensive, up-to-date text currently available on all aspects of sound reproduction.

The Art of Sound Building The Second Edition to which are Added Useful Tables of the Proportions of the Members of All the Orders Calculated in Feet and Inches for the Use of Practical Builders

IRST describe a Circle equal to the Breadth of the Well - Hole , whose Diameter is U W ; as also another from the fame Centre , whose Diameter is AG , to F The ART of SOUND BUILDING . represent the Plan of. repra thenusal ܪ ܀


Author: William Halfpenny


ISBN: BL:A0021497439


Page: 65

View: 948

The Art of Sound

6 The art of sound : an introduction to music / Jack Sacher, Q9A?-} James Eversole. — 2d ed. — Englewood Cliff's, N.J. : Prentice- 5 Hall,cl977. xxii, 362 p. : ill. ; 24 cm. A8 1977 Bibliography: p. 317-333. Includes index.


Author: Jack Sacher


ISBN: UOM:49015000735028

Category: Music appreciation

Page: 362

View: 547

The Art of Sound Pictures

In this way, the sounds of the camera were not recorded on the sound film. The camera booths were placed on wheels, or "dollies," so that they could be easily moved around the set. There has been developed a camera, however, ...


Author: Walter B. Pitkin


ISBN: UOM:39015003987503

Category: Color photography

Page: 287

View: 625

Sonic Boom




ISBN: 1853322083

Category: Installations (Art)

Page: 127

View: 783

The Art of Theatrical Sound Design

It is an empty intention that gives the impression of being the opposite to sound. And because of this, the relative absence adds to meaningfulness of auditory experience. The rests or pausing in a phrase of music add more depth and ...


Author: Victoria Deiorio

Publisher: Bloomsbury Publishing

ISBN: 9781474257848

Category: Performing Arts

Page: 240

View: 797

Emphasising the artistry behind the decisions made by theatrical sound designers, this guide is for anyone seeking to understand the nature of sound and how to apply it to the stage. Through tried-and-tested advice and lessons in practical application, The Art of Theatrical Sound Design allows developing artists to apply psychology, physiology, sociology, anthropology and all aspects of sound phenomenology to theatrical sound design. Structured in three parts, the book explores, theoretically, how human beings perceive the vibration of sound; offers exercises to develop support for storytelling by creating an emotional journey for the audience; considers how to collaborate and communicate as a theatre artist; and discusses how to create a cohesive sound design for the stage.

The Art of Sound Reproduction

Provides the theoretical background necessary to understand sound reproduction, along with practical examples. This book defines the specialist terms - both musical and physical - as they occur.


Author: John Watkinson

Publisher: Focal Press

ISBN: 1138412708



View: 599

Designed to make life a little easier by providing all the theoretical background necessary to understand sound reproduction, backed up with practical examples. Specialist terms - both musical and physical - are defined as they occur and plain English is used throughout. Analog and digital audio are considered as alternatives, and the advantages of both are stressed.Audio is only as good as the transducers employed, and consequently microphone and loudspeaker technology also feature heavily - making this the most comprehensive, up-to-date text currently available on all aspects of sound reproduction.

The Fundamentals of Sonic Art and Sound Design

The Art of Noises Perhaps one of the most significant developments in sound art and design used relatively simple mechanical technologies: the importance, however, was not so much the technology as the ideas that it expressed.


Author: Tony Gibbs

Publisher: AVA Publishing

ISBN: 9782940373499

Category: Art

Page: 175

View: 975

Sound is all around. In movies. On TV. On the radio. Now the idea that sound can be an artistic medium in its own right is shaking the art world. Written by an authority in the field, The Fundamentals of Sonic Arts and Sound Design describes and begins the process of defining this entirely new subject. Topics covered include new and radical approaches to sound recording, performance, installation works and exhibitions, plus visits with sonic artists and sound designers. Designed for students, yet packed with exciting examples of the principles and practice of this new art form, this book is on the cutting edge where technology and art meet.

The Oxford Handbook of Sound Art

Associate Professor in Digital Arts Jane Grant, Jane Grant, John Matthias, David Prior, Director of Research and Professor of Music and Sound Art David Prior. Finally, felt space is the space of being with ... (something or some person) ...


Author: Associate Professor in Digital Arts Jane Grant

Publisher: Oxford University Press

ISBN: 9780190274054

Category: Art

Page: 624

View: 932

Sound art has long been resistant to its own definition. Emerging from a liminal space between movements of thought and practice in the twentieth century, sound art has often been described in terms of the things that it is understood to have left behind: a space between music, fine art, and performance. The Oxford Handbook of Sound Art surveys the practices, politics, and emerging frameworks of thought that now define this previously amorphous area of study. Throughout the Handbook, artists and thinkers explore the uses of sound in contemporary arts practice. Imbued with global perspectives, chapters are organized in six overarching themes of Space, Time, Things, Fabric, Senses and Relationality. Each theme represents a key area of development in the visual arts and music during the second half of the twentieth century from which sound art emerged. By offering a set of thematic frameworks through which to understand these themes, this Handbook situates constellations of disparate thought and practice into recognized centers of activity.

The Bloomsbury Handbook of Sound Art

Ultra Sounds: The Sonic Art of Polish Radio Experimental Studio. Heidelberg: Kehrer Verlag, 2019. Cruzten, Paul J. “Geology of Mankind.” Nature 415, no. 6867 (2002): 23. Cruzten, Paul, and Eugene Stoermer.


Author: Sanne Krogh Groth

Publisher: Bloomsbury Publishing USA

ISBN: 9781501338816

Category: Art

Page: 584

View: 419

The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.


Rudolf Arnheim. , - -I An Art of Sound By Rudolf Arnheim Translated by Margaret.


Author: Rudolf Arnheim

Publisher: Da Capo Press

ISBN: UOM:39015002560327

Category: Amateur radio stations

Page: 296

View: 967

The Oxford Handbook of Sound and Image in Western Art

Sound: Space. Ostfeldern: Cantz Verlag. Lefebvre, Henri. 1991. The Production of Space, translated by Donald ... Six Years: The Dematerialization of the Art Object. ... Seeing Sound: Sound Art, Performance and Music, 1978–2011.


Author: Yael Kaduri

Publisher: Oxford University Press

ISBN: 9780190631697

Category: Music


View: 770

The Oxford Handbook of Sound and Image in Western Art examines, under one umbrella, different kinds of analogies, mutual influences, integrations and collaborations of audio and visual in different art forms. The book represents state-of-the-art case studies with key figures of modern thinking constituting a foundation for discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks. The book is organized around three core thematic sections. The first, Sights and Sounds, concentrates on the interaction between the experience of seeing and the experience of hearing. Examples of painting, classic and digital animation, video art, choreography, and music performance are examined in this section. Sound, Space, and Matter explores experimental forms emanating from the expansion of the concepts of music and space to include environmental sounds, vibrating frequencies, silence, language, human habitats, the human body, and more. The reader will find here an analysis of different manifestations of this aesthetic shift in sound art, fine art, contemporary dance, multimedia theatre, and cinema. The last section, Performance, Performativity, and Text, shows how new light shed by modernism and the avant-garde on the performative aspect of music have led it - together with sound, voice, and text - to become active in new ways in postmodern and contemporary art creation. In addition to examples of real-time performing arts such as music theatre, experimental theatre, and dance, it includes case studies that demonstrate performativity in fine art, visual poetry, short film, and cinema. Sitting at the cutting edge of the field of music and visual arts, the book offers a unique, at times controversial view of this rapidly evolving area of study. Artists, curators, students and scholars will find here a panoramic view of cutting-edge discourse in the field, by an international roster of scholars and practitioners.

The Art of Theatrical Design

This takes sensitivity and awareness and above all, the willingness to take the leap beyond the technology to the art of sound, because that is where the connection to the audience is made. The sound designer is in a unique position.


Author: Kaoime Malloy

Publisher: CRC Press

ISBN: 9781317694267

Category: Performing Arts

Page: 340

View: 296

The Art of Theatrical Design: Elements of Visual Composition, Methods, and Practice addresses the core principles that develop the student designer into a true artist, providing a foundation that ensures success with each production design. This text concentrates on the skills necessary to create effective, evocative, and engaging theatrical designs that support the play contextually, thematically, and visually. It gives students the grounding in core design principles they need to approach design challenges and make design decisions in both assigned class projects and realized productions. This book features: In-depth discussions of design elements and principles for costume, set, lighting, sound, and projection designs Coverage of key concepts such as content, context, genre, style, play structure and format, and the demands and limitations of various theatrical spaces Essential principles, including collaboration, inspiration, conceptualization, script analysis, conducting effective research, building a visual library, developing an individual design process, and the role of the critique in collaboration Information on recent digital drawing tool technology, such as the Wacom® Inkling pen, Wacom® Intuos digitizing tablets and digital sketching, and rendering programs such as Autodesk® Sketchbook Pro and Adobe® Photoshop® Chapter exercises and key terms designed to provide an engaging experience with the material and to facilitate student understanding

The Oxford Handbook of Sound and Imagination

On a humanistic view, music is an art with at least a small “a”—a practice involving skill or craft whose ends are essentially aesthetic, and which is the necessary object of aesthetic attention, with sounds regarded as tones.


Author: Mark Grimshaw-Aagaard

Publisher: Oxford University Press

ISBN: 9780190460259

Category: Music

Page: 752

View: 733

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.

Loading the Silence Australian Sound Art in the Post Digital Age

48Quoted inLandy, Understanding the Art of Sound Organization, p. 105. 49 Quoted ibid. 50LaBelle, Background Noise, p. 295. 51 From thedust jacketof Bourriaud and TateBritain (Gallery), Altermodern: TateTriennial. Alsosee note25, above.


Author: Dr Linda Ioanna Kouvaras

Publisher: Ashgate Publishing, Ltd.

ISBN: 9781472400352

Category: Music

Page: 288

View: 650

The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (‘silent’ piece) 4’33”. But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ‘load’ modernism’s ‘degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking Australian music as its primary - but not sole - focus, the book not only covers discussions of technological advancement, but also engages with aesthetic standpoints, through numerous interviews, theoretical developments, analysis and cultural milieux for a contemporary Australian, and wider postmodern, context. Developing new methodologies for synergies between musicology and cultural studies, the book uncovers a new post-postmodern aesthetic trajectory, which Kouvaras locates as developing over the past two decades - the altermodern. Australian sound art is here put firmly on the map of international debates about contemporary music, providing a standard reference and valuable resource for practitioners in the artform, music critics, scholars and educators.

Sound and Music for the Theatre

This is the only comprehensive text that discusses the aesthetics of sound design for the stage.


Author: Deena Kaye

Publisher: Taylor & Francis US

ISBN: 024080371X

Category: Performing Arts

Page: 268

View: 666

This is the only comprehensive text that discusses the aesthetics of sound design for the stage. It is a practical and comprehensive guide to the field of sound design, covering the designer's relationships within the theatre community and detailing the process of sound design. The focus is on design approaches and techniques, rather than equipment operation. For every phase of theatrical production, Sound and Music for the Theatre traces the entire process of sound design from initial concept through finished plan. The book discusses the early evolution of a sound design that supports the play. It discusses how to research sources for music and effects, devise a sound plot, and negotiate in a contract. It explains how to plan the gathering and construction of the sound design elements; how the designer operates in a rehearsal; and how to set up and train an operator to run sound equipment for a theatrical production. The instructive information is interspersed with "war stories" describing real-life problems and solutions that sound designers or composers will be able to apply in similar situations that they may encounter. Also included are two highly informative roundtable discussions with well-respected directors, playwrights, composers and sound designers focusing on sound in the theatre. Comprehensive text that addresses sound design for theatre Updated to include digital technology in theatrical productions Includes new "roundtable discussion" with leading sound designers and composers

Production Sound Mixing

The intent is to allow the student to make the best of a location no matter how challenging it might be. Most importantly, this book will make one aware of the potential of sound on screen, for it is truly 50% of the viewing experience.


Author: John J. Murphy

Publisher: Bloomsbury Academic

ISBN: 1501307118

Category: Electronic books

Page: 223

View: 207

The latest hot camera is pretty irrelevant if one can't understand what's happening on screen. The key to any narrative is in the dialogue and voice over, but if this is unintelligible or difficult to hear, viewers will soon lose interest. With real world applications and a narrative to keep the reader's interest, Production Sound Mixing is the indispensable guide for film and video audio recording. Written by veteran sound mixer John J. Murphy, the book offers a step by step collaborative journey through the basic physics of sound, concluding with a practical guide of the latest techniques and equipment available to all who are interested in the best audio for their projects. Structured to mimic a 14-week semester, each chapter begins with an audio problem to be solved and ends with a solution drawn from information gleaned from past chapters. Suggested movie scenes that demonstrate the relevant audio techniques will also be included. Equally applicable to studio and location recording, the book is oriented toward commonly accessible environments such as conference rooms, hallways, beaches, car interiors, bathrooms, and so on. The intent is to allow the student to make the best of a location no matter how challenging it might be. Most importantly, this book will make one aware of the potential of sound on screen, for it is truly 50% of the viewing experience. - Amazon.

The Order of Sounds

to listening, music, and sound. ... come to listen could stop coming, it doesn't matter to me', she declares.415 Noise music is the final stage in an expressive deconstruction of the musical paradigm and of the art of sound as language.


Author: Francois J. Bonnet

Publisher: MIT Press

ISBN: 9781916405226

Category: Philosophy

Page: 368

View: 624

This study of the subtlety, complexity, and variety of modes of hearing maps out a “sonorous archipelago”—a heterogeneous set of shifting sonic territories shaped by the vicissitudes of desire and discourse. Profoundly intimate yet immediately giving onto distant spaces, both an “organ of fear” and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of “sound,” navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the “soundscape” and “reduced listening” demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound “itself,” nor an “ocean of sound” in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.