Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of sounds on listeners.
Sound Music Affect
Sound, Music, Affect features brand new essays that bring together the burgeoning developments in sound studies and affect studies. The first section sets out key methodological and theoretical concerns, focussing on the relationships between affective models and sound. The second section deals with particular musical case studies, exploring how reference to affect theory might change or reshape some of the ways we are able to make sense of musical materials. The third section examines the politics and practice of sonic disruption: from the notion of noise as 'prophecy', to the appropriation of 'bad vibes' for pleasurable aesthetic and affective experiences. And the final section engages with some of the ways in which affect can help us understand the politics of chill, relaxation and intimacy as sonic encounters. The result is a rich and multifaceted consideration of sound, music and the affective, from scholars with backgrounds in cultural theory, history, literary studies, media studies, architecture, philosophy and musicology.
Low End Theory
Low End Theory probes the much-mythologized field of bass and low-frequency sound. It begins in music but quickly moves far beyond, following vibratory phenomena across time, disciplines and disparate cultural spheres (including hauntings, laboratories, organ workshops, burial mounds, sound art, studios, dancefloors, infrasonic anomalies, and a global mystery called The Hum). Low End Theory asks what it is about bass that has fascinated us for so long and made it such a busy site of bio-technological experimentation, driving developments in science, technology, the arts, and religious culture. The guiding question is not so much what we make of bass, but what it makes of us: how does it undulate and unsettle; how does it incite; how does it draw bodily thought into new equations with itself and its surroundings? Low End Theory is the first book to survey this sonorous terrain and devise a conceptual language proper to it. With its focus on sound's structuring agency and the multi-sensory aspects of sonic experience, it stands to make a transformative contribution to the study of music and sound, while pushing scholarship on affect, materiality, and the senses into fertile new territory. Through energetic and creative prose, Low End Theory works to put thought in touch with the vibratory encounter as no scholarly book has done before. For more information, visit: http://www.lowendtheorybook.com/
Writing the Sonic Experience
Ju-Ping Song A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de Writing the Sonic Experience Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
The Present Tense of Making
Michael T. Swisher A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de The Present Tense of Making Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
Sonic Interaction Design
Sound is an integral part of every user experience but a neglected medium in design disciplines. Design of an artifact's sonic qualities is often limited to the shaping of functional, representational, and signaling roles of sound. The interdisciplinary field of sonic interaction design (SID) challenges these prevalent approaches by considering sound as an active medium that can enable novel sensory and social experiences through interactive technologies. This book offers an overview of the emerging SID research, discussing theories, methods, and practices, with a focus on the multisensory aspects of sonic experience. Sonic Interaction Design gathers contributions from scholars, artists, and designers working at the intersections of fields ranging from electronic music to cognitive science. They offer both theoretical considerations of key themes and case studies of products and systems created for such contexts as mobile music, sensorimotor learning, rehabilitation, and gaming. The goal is not only to extend the existing research and pedagogical approaches to SID but also to foster domains of practice for sound designers, architects, interaction designers, media artists, product designers, and urban planners. Taken together, the chapters provide a foundation for a still-emerging field, affording a new generation of designers a fresh perspective on interactive sound as a situated and multisensory experience. Contributors: Federico Avanzini, Gerold Baier, Stephen Barrass, Olivier Bau, Karin Bijsterveld, Roberto Bresin, Stephen Brewster, Jeremy Coopersotck, Amalia De Gotzen, Stefano Delle Monache, Cumhur Erkut, George Essl, Karmen Franinovi, Bruno L. Giordano, Antti Jylhä, Thomas Hermann, Daniel Hug, Johan Kildal, Stefan Krebs, Anatole Lecuyer, Wendy Mackay, David Merrill, Roderick Murray-Smith, Sile O'Modhrain, Pietro Polotti, Hayes Raffle, Michal Rinott, Davide Rocchesso, Antonio Rodà, Christopher Salter, Zack Settel, Stefania Serafin, Simone Spagnol, Jean Sreng, Patrick Susini, Atau Tanaka, Yon Visell, Mike Wezniewski, John Williamson
The Sonic Boom
"Music defines us. Joel Beckerman knows. Let him tell you all about it." —Anthony Bourdain “Equal parts sociological study and business advice, using unique everyday examples—for instance, how the fate of the Chili’s fajita empire rested on the sound of the sizzling platter, and how Disneyland approaches soundscapes for a fully immersive experience—to explain how sound effects our mood and shopping habits.”—EW.com Sound and music surround us so constantly that we often take them for granted. But sound has surprising power to influence our decisions, opinions, and actions in ways we might not even notice. Discordant ambient noise can induce anxiety; ice cream truck jingles can bring you back to your childhood. In The Sonic Boom, composer and strategic sound expert Joel Beckerman provides a new framework for thinking about sound’s effects on every aspect of our lives. You don’t need to be a musician or a composer to harness the power of sound. Companies, brands, and individuals can strategically use sound to get to the core of their mission, influence how they’re perceived by their audiences, and gain a competitive edge. Whether you’re a corporate giant connecting with millions of customers or a teacher connecting with one classroom of students, the key to an effective sonic strategy is the creation of “boom moments”—transcendent instants when sound connects with a listener’s emotional core. “I’ve spent my life curating, creating, and collecting sounds. But Beckerman and Gray have shown here that there are still plenty of sounds that we’ve all missed. The Sonic Boom reveals the music and structured cacophony of everyday life.” —Moby
Sound and Vision
This dissertation re-orients the study of Romantic poetry by advocating a shift in Romanticist critical discourse away from the visual sensorium and towards a focus on sound. I examine three major poets--William Wordsworth, William Blake, and John Clare--whose work has been critiqued, celebrated, or otherwise understood through a critical focus both centered on and shaped by tropes of visuality. An investigation of poetic sound, I argue, helps us understand the work of these poets on a more fundamental level. Sound was used by these writers to promote the aesthetic mode of experience over and against social and intellectual forces that threatened the essential freedom of the human imagination. In doing so, they were also writing against a millenia-old tradition in Western thought that privileged visual over audible experience.
Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread--to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard--the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths
The Semantics of Chinese Music
Music is a widely enjoyed human experience. It is, therefore, natural that we have wanted to describe, document, analyse and, somehow, grasp it in language. This book surveys a representative selection of musical concepts in Chinese language, i.e. words that describe, or refer to, aspects of Chinese music. Important as these musical concepts are in the language, they have been in wide circulation since ancient times without being subjected to any serious semantic analysis. The current study is the first known attempt at analysing these Chinese musical concepts linguistically, adopting the Natural Semantic Metalanguage (NSM) approach to formulate semantically and cognitively rigorous explications. Readers will be able to better understand not only these musical concepts but also significant aspects of the Chinese culture which many of these musical concepts represent. This volume contributes to the fields of cognitive linguistics, semantics, music, musicology and Chinese studies, offering readers a fresh account of Chinese ways of thinking, not least Chinese ways of viewing or appreciating music. Ultimately, this study represents trailblazing research on the relationship between language, culture and cognition.