|
Books > Music > Music recording & reproduction
Video games open portals into fantastical worlds where imaginative
play prevails. The virtual medium seemingly provides us with ample
opportunities to behave and act out with relative safety and
impunity. Or does it? Sound Play explores the aesthetic, ethical,
and sociopolitical stakes of our engagements with gaming's audio
phenomena-from sonic violence to synthesized operas, from
democratic music-making to vocal sexual harassment. Author William
Cheng shows how the simulated environments of games empower
designers, composers, players, and scholars to test and tinker with
music, noise, speech, and silence in ways that might not be prudent
or possible in the real world. In negotiating utopian and alarmist
stereotypes of video games, Sound Play synthesizes insights from
across musicology, sociology, anthropology, communications,
literary theory, and philosophy. With case studies that span Final
Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online,
and Team Fortress 2, this book insists that what we do in there-in
the safe, sound spaces of games-can ultimately teach us a great
deal about who we are and what we value (musically, culturally,
humanly) out here.
Electronic music instruments weren't called synthesizers until the
1950s, but their lineage began in 1919 with Russian inventor Lev
Sergeyevich Termen's development of the Etherphone, now known as
the Theremin. From that point, synthesizers have undergone a
remarkable evolution from prohibitively large mid-century models
confined to university laboratories to the development of musical
synthesis software that runs on tablet computers and portable media
devices.
Throughout its history, the synthesizer has always been at the
forefront of technology for the arts. In The Synthesizer: A
Comprehensive Guide to Understanding, Programming, Playing, and
Recording the Ultimate Electronic Music Instrument, veteran music
technology journalist, educator, and performer Mark Vail tells the
complete story of the synthesizer: the origins of the many forms
the instrument takes; crucial advancements in sound generation,
musical control, and composition made with instruments that may
have become best sellers or gone entirely unnoticed; and the basics
and intricacies of acoustics and synthesized sound. Vail also
describes how to successfully select, program, and play a
synthesizer; what alternative controllers exist for creating
electronic music; and how to stay focused and productive when faced
with a room full of instruments. This one-stop reference guide on
all things synthesizer also offers tips on encouraging creativity,
layering sounds, performance, composing and recording for film and
television, and much more.
Now in its fourth edition, The Art of Music Production has
established itself as the definitive guide to the art and business
of music production and a primary teaching tool for college
programs. It is the first book to comprehensively analyze and
describe the non-technical role of the music producer. Author
Richard James Burgess lays out the complex field of music
production by defining the several distinct roles that fall under
the rubric of music producer. In this completely updated and
revised fourth edition of a book already lauded as "the most
comprehensive guide to record production ever published," Burgess
has expanded and refined the types of producers, bringing them
fully up to date. The first part of the book outlines the
underlying theory of the art of music production. The second part
focuses on the practical aspects of the job including training,
getting into the business, day-to-day responsibilities, potential
earnings, managers, lawyers, and - most importantly - the musical,
financial, and interpersonal relationships producers have with
artists and their labels. The book is packed with insights from the
most successful music producers ranging from today's chart-toppers
to the beginnings of recorded sound, including mainstream and many
niche genres. The book also features many revealing anecdotes about
the business, including the stars and the challenges (from daily to
career-related) a producer faces. Burgess addresses the changes in
the nature of music production that have been brought about by
technology and, in particular, the paradigmatic millennial shift
that has occurred with digital recording and distribution.
Burgess's lifelong experience in the recording industry as a studio
musician, artist, producer, manager, and marketer combined with his
extensive academic research in the field brings a unique breadth
and depth of understanding to the topic.
This book puts sampling studies on the academic map by focusing on
sampling as a logic of exchange between audio-visual media. While
some recent scholarship has addressed sampling primarily in
relation to copyright, this book is a first: a critical study of
sampling and remixing across audio-visual media. Of special
interest here are works that bring together both audio and visual
sampling: music that samples film and television; underground dance
and multimedia scenes that rely on sampling; Internet "memes" that
repurpose music videos, trailers and news broadcasts; films and
videos that incorporate a wide range of sampling aesthetics; and
other provocative variations. Comprised of four sections titled
"roots," "scenes," "cinema" and "web" this collection digs deep
into and across sampling practices that intervene in popular
culture from unconventional or subversive perspectives. To this
end, Sampling Media extends the conceptual boundaries of sampling
by emphasizing its inter-medial dimensions, exploring the politics
of sampling practice beyond copyright law, and examining its more
marginal applications. It likewise puts into conversation
compelling instances of sampling from a wide variety of historical
and contemporary, global and local contexts.
With Computational Thinking in Sound, veteran educators Gena R.
Greher and Jesse M. Heines provide the first book ever written for
music fundamentals educators which is devoted specifically to
music, sound, and technology. The authors demonstrate how the range
of mental tools in computer science - for example, analytical
thought, system design, and problem design and solution - can be
fruitfully applied to music education, including examples of
successful student work. While technology instruction in music
education has traditionally focused on teaching how computers and
software work to produce music, Greher and Heines offer context: a
clear understanding of how music technology can be structured
around a set of learning challenges and tasks of the type common in
computer science classrooms. Using a learner-centered approach that
emphasizes project-based experiences, the book provides music
educators with multiple strategies to explore, create, and solve
problems with music and technology in equal parts. It also provides
examples of hands-on activities which encourage students, alone and
in interdisciplinary groups, to explore the basic principles that
underlie today's music technology and which expose them to current
multimedia development tools.
Wild Track is an exploration of birdsong and the ways in which that
sound was conveyed, described and responded to through text, prior
to the advent of recording and broadcast technologies in the late
19th and early 20th centuries. Street links sound aesthetics,
radio, natural history, and literature to explore how the brain and
imagination translate sonic codes as well as the nature of the
silent sound we "hear" when we read a text. This creates an
awareness of sound through the tuned attention of the senses,
learning from sound texts of the natural world that sought – and
seek – to convey the intensity of the sonic moment and fleeting
experience. To absorb these lessons is to enable a more highly
interactive relationship with sound and listening, and to interpret
the subtleties of audio as a means of expression and translation of
the living world.
PRO TOOLS 101: AN INTRODUCTION TO PRO TOOLS 10 takes a
comprehensive approach to learning the fundamentals of Pro Tools
systems. Now updated for Pro Tools 10 software, this new edition
from the definitive authority on Pro Tools covers everything you
need to know to complete a Pro Tools project. Learn to build
sessions that include multitrack recordings of live instruments,
MIDI sequences, and virtual instruments. Through hands-on
tutorials, develop essential techniques for recording, editing, and
mixing. The included DVD-ROM offers tutorial files and videos,
additional documentation, and Pro Tools sessions to accompany the
projects in the text.
Owning the Masters provides the first in-depth history of sound
recording copyright. It is this form of intellectual property that
underpins the workings of the recording industry. Rather than being
focused on the manufacture of goods, this industry is centred on
the creation, exploitation and protection of rights. The
development and control of these rights has not been
straightforward. This book explores the lobbying activities of
record companies: the principal creators, owners and defenders of
sound recording copyright. It addresses the counter-activity of
recording artists, in particular those who have fought against the
legislative and contractual practices of record companies to claim
these master rights for themselves. In addition, this book looks at
the activities of the listening public, large numbers of whom have
been labelled 'pirates' for trespassing on these rights. The public
has played its own part in shaping copyright legislation. This is
an essential subject for an understanding of the economic, artistic
and political value of recorded sound.
The turn of the millennium has heralded an outgrowth of culture
that demonstrates an awareness of the ephemeral nature of history
and the complexity underpinning the relationship between location
and the past. This has been especially apparent in the shifting
relationship between landscape, memory and sound in film,
television and other media. The result is growing interest in
soundtracks, as part of audiovisual culture, as well as an interest
in the spectral aspects of culture more generally. This collection
of essays focuses on audiovisual forms that foreground landscape,
sound and memory. The scope of inquiry emphasises the ghostly
qualities of a certain body of soundtracks, extending beyond merely
the idea of 'scary films' or 'haunted houses.' Rather, the notion
of sonic haunting is tied to ideas of trauma, anxiety or nostalgia
associated with spatial and temporal dislocation in contemporary
society. Touchstones for the approach are the concepts of
psychogeography and hauntology, pervasive and established critical
strategies that are interrogated and refined in relation to the
reification of the spectral within the soundtracks under
consideration here.
In 1943 the Armed Forces Radio Service began transmitting programs
that linked the thousands of American military personnel and
civilians stationed overseas to the United States. This definitive
study provides discographical data for the first 1,000 recordings
of the AFRS Basic Musical Library, P (Popular) Series. This series
of recordings of popular, jazz, and classical music constituted a
permanent music library at every military radio station and allowed
AFRS personnel at the numerous broadcast facilities around the
world to act as disc jockeys, playing the most popular and
requested songs and artists for their audiences--principally
American GIs. Some of the many orchestras and singers represented
in the collection include Bing Crosby, Harry James, Count Basie,
Cab Calloway, the Andrews Sisters, Frank Sinatra, and Peggy Lee.
The sources of the recordings were variable and included commercial
recordings (occasionally alternate takes) principally from
Columbia, Decca, and Victor; radio broadcasts (often from dress
rehearsals); concerts; and AFRS's own recording sessions. Larry F.
Kiner and Harry Mackenzie have meticulously and comprehensively
researched the AFRS files to produce this first complete listing of
these recordings and their compilation is also the first to
identify the many commercial record issues that have been derived
from the series. Following the introduction that advises readers
how to use the book and also explains its format and abbreviations,
the 1,000-entry discography begins. Each entry lists the AFRS Basic
Musical Library P Series catalog number; the matrix number; take
number as shown on the ARFS label; song title; artist
identification; running time in minutes; source of the take,
including exact date and geographical location, when known; and
size, speed and issue data. Two appendixes center on the most
popular artists and most popular songs of the collection and two
separate indexes list articles and songs to facilitate ease of
location. Of special interest are the over three dozen label
illustrations. This important source of information on American
popular songs, artists, and recordings of the 1943 to 1947 period
will be welcomed by musical scholars of the World War II era and by
those with a penchant for American popular music.
Remediating Sound studies the phenomena of remixing, mashup and
recomposition: forms of reuse and sampling that have come to
characterise much of YouTube's audiovisual content. Through
collaborative composition, collage and cover songs to reaction
videos and political activism , users from diverse backgrounds have
embraced the democratised space of YouTube to open up new and
innovative forms of sonic creativity and push the boundaries of
audiovisual possibilities. Observing the reciprocal flow of
influence that runs between various online platforms, 12 chapters
position YouTube as a central hub for the exploration of digital
sound, music and the moving image. With special focus on aspects of
networked creativity that remain overlooked in contemporary
scholarship, including library music, memetic media, artificial
intelligence, the sonic arts and music fandom, this volume offers
interdisciplinary insight into contemporary audiovisual culture.
‘Sonic intimacy’ is a key concept through which sound, human
and technological relations can be assessed in relation to racial
capitalism. What is sonic intimacy, how is it changing and what is
at stake in its transformation, are questions that should concern
us all. Through an analysis of alternative music cultures of the
Black Atlantic (reggae sound systems, jungle pirate radio and grime
YouTube music videos), Malcolm James critically shows how sonic
intimacy pertains to modernity’s social, psychic, spatial and
temporal movements. This book explores what is urgently at stake in
the development of sonic intimacy for human relations and
alternative black and anti-capitalist public politics.
Sonic Writing explores how contemporary music technologies trace
their ancestry to previous forms of instruments and media. Studying
the domains of instrument design, musical notation, and sound
recording under the rubrics of material, symbolic, and signal
inscriptions of sound, the book describes how these historical
techniques of sonic writing are implemented in new digital music
technologies. With a scope ranging from ancient Greek music theory,
medieval notation, early modern scientific instrumentation to
contemporary multimedia and artificial intelligence, it provides a
theoretical grounding for further study and development of
technologies of musical expression. The book draws a bespoke
affinity and similarity between current musical practices and those
from before the advent of notation and recording, stressing the
importance of instrument design in the study of new music and
projecting how new computational technologies, including machine
learning, will transform our musical practices. Sonic Writing
offers a richly illustrated study of contemporary musical media,
where interactivity, artificial intelligence, and networked devices
disclose new possibilities for musical expression. Thor Magnusson
provides a conceptual framework for the creation and analysis of
this new musical work, arguing that contemporary sonic writing
becomes a new form of material and symbolic design--one that is
bound to be ephemeral, a system of fluid objects where technologies
are continually redesigned in a fast cycle of innovation.
The Beatles are known for cheeky punchlines, but understanding
their humor goes beyond laughing at John Lennon’s memorable
“rattle your jewelry” dig at the Royal Variety Performance in
1963. From the beginning, the Beatles’ music was full of wordplay
and winks, guided by comedic influences ranging from rhythm and
blues, British radio, and the Liverpool pub scene. Gifted with
timing and deadpan wit, the band habitually relied on irony,
sarcasm, and nonsense. Early jokes revealed an aptitude for
improvisation and self-awareness, techniques honed throughout the
1960s and into solo careers. Experts in the art of play, including
musical experimentation, the Beatles’ shared sense of humor is a
key ingredient to their appeal during the 1960s— and to their
endurance. The Beatles and Humour offers innovative takes on the
serious art of Beatle fun, an instrument of social, political, and
economic critique. Chapters also situate the band alongside British
and non-British predecessors and collaborators, such as Billy
Preston and Yoko Ono, uncovering diverse components and unexpected
effects of the Beatles’ output.
Using cine-ethnomusicology as a focus, Cineworlding introduces
readers to ways of thinking eco-cinematically. Screens are
omnipresent, we carry digital cinema production equipment in our
pockets, but this screen-based technological revolution has barely
impacted social science scholarship. Mixing existential
phenomenological fiction about social science digital cinema
research practice followed by theoretical reflection and discussion
of methods, this book has emerged from a decade-long inquiry into
cineworlding and a desire to help others produce digital media to
engage creatively with the digital networks that surround us.
Explore the fascinating history of the Muscle Shoals Sound.
Although there have been two main perspectives on the nature of
music through systematic and cultural musicology, music informatics
has emerged as an interdisciplinary research area which provides a
different idea on the nature of music through computer
technologies. Structuring Music through Markup Language: Designs
and Architectures offers a different approach to music by focusing
on the information organization and the development of XML-based
language. This book aims to offer a new set of tools on for
practical implementations and a new investigation into the theory
of music.
|
You may like...
Impossible
Sarah Lotz
Paperback
R328
Discovery Miles 3 280
Intermezzo
Sally Rooney
Paperback
R410
R366
Discovery Miles 3 660
|