To feel the emotional force of music, we experience it aurally. But how can we convey musical understanding visually? Visualizing Music explores the art of communicating about music through images. Drawing on principles from the fields of vision science and information visualization, Eric Isaacson describes how graphical images can help us understand music. By explaining the history of music visualizations through the lens of human perception and cognition, Isaacson offers a guide to understanding what makes musical images effective or ineffective and provides readers with extensive principles and strategies to create excellent images of their own. Illustrated with over 300 diagrams from both historical and modern sources, including examples and theories from Western art music, world music, and jazz, folk, and popular music, Visualizing Music explores the decisions made around image creation. Together with an extensive online supplement and dozens of redrawings that show the impact of effective techniques, Visualizing Music is a captivating guide to thinking differently about design that will help music scholars better understand the power of musical images, thereby shifting the ephemeral to material.

Sound in cinema is a fascinating area that is just beginning to get the attention it deserves. This innovative book highlights the workers who collaborated inside and outside Hollywood to produce dialogue, sound effects and music for motion pictures. It demonstrates the transformative powers of sound as they shape the specific ways in which film meaning is made. It interrogates the statement that 'the silent screen was never silent', shows how Altman & Malick pushed the boundares of dialogue, what Dolby did to movies, how Walter Murch, Alfred Newman, John Williams and many more scored and composed and how cinematic sound is adapting to digital exhibition on computer screens and smartphones. The overall objective is to make it hard for us to see films in the same way again.

The New Soundtrack is fully peer-reviewed and includes contributions from recognised practitioners in the field, including composers, sound designers and directors, giving voice to the development of professional practice, alongside academic contributions. Each issue also features a short compilation of book and film reviews on recently released publications and artefacts.

Between 1895 and 1920, the United States saw a sharp increase in commercial sound recording, the first mass medium of home entertainment. As companies sought to discover what kinds of records would appeal to consumers, they turned to performance forms already familiar to contemporary audiences—sales pitches, oratory, sermons, and stories. In A Most Valuable Medium, Richard Bauman explores the practical problems that producers and performers confronted when adapting familiar oral genres to this innovative medium of sound recording. He also examines how audiences responded to these modified and commoditized presentations. Featuring audio examples throughout and offering a novel look at the early history of sound recording, A Most Valuable Medium reveals how this new technology effected monumental change in the ways we receive information.

What did the term 'author' denote for Lutheran musicians in the generations between Heinrich Schutz and Johann Sebastian Bach? As part of the Musical Performance and Reception series, this book examines attitudes to authorship as revealed in the production, performance and reception of music in seventeenth-century German lands. Analysing a wide array of archival, musical, philosophical and theological texts, this study illuminates notions of creativity in the period and the ways in which individuality was projected and detected in printed and manuscript music. Its investigation of musical ownership and regulation shows how composers appealed to princely authority to protect their publications, and how town councils sought to control the compositional efforts of their church musicians. Interpreting authorship as a dialogue between authority and individuality, this book uses an interdisciplinary approach to explore changing attitudes to the self in the era between Schutz and Bach.

The ultimate guide to starting, keeping, and tracking your music collection with this guided journal, including expert advice, lists, and a log to keep track of over 300 records. Vinyl records are back-in a big way. Music lovers are turning back to vinyl for its pure sound and the fun of collection. If you're an avid collector or are looking to start your collection, this book will walk you through the basics of what is sure to become your newest passion; and give you the space to keep track of your own growing collection. Whether your musical tastes are jazz, rock, country, classical, or showtunes, you can find vinyl records from your favorite artists-but you have to know where to look. And DJ-turned-vinyl expert Jenna Miles will let you know all that and more! With essential guidance on storing, cleaning, and fixing records, this guided journal is a must-have for music fans everywhere.

A Rough Trade Book of the Year After the success of his memoir, Telling Stories, Tim set himself a quest. He got in touch with people he admires, and asked them to suggest an album for him to track down on his travels, giving an insight into what makes them tick, while also giving Tim a chance to see how record shops around the world were faring in the digital age. Sending out texts, phone calls, emails and handwritten notes to the likes of Iggy Pop, Johnny Marr, David Lynch and Cosey Fanni Tutti, here is the tender, funny and surprising story of what came back.

To complete an album, a producer needs to know what goes into capturing great music and teasing out inspirational performances from artists. As a producer, you are guiding not only the music, but also the business and the technical aspects of an album. What Is Music Production? is a "guide to this guidance."
Formed from a blend of solid information extracted from detailed interviews, the book focuses on the process of music production, providing insight into how the producer guides this process and molds the final product.
Whether you are a student or just starting your professional career, What is Music Production? explains what you need to know-from working with artists, songs, pre-production, mixing, and mastering to the finance and budgeting-to glean a professional result. Combining the "how to" with online assets and interviews, this book arms you with vital insight into the business of being a music producer.

In talking about contemporary media, we often use a language of newness, applying words like "revolution" and "disruption". Yet, the emergence of new sound media technologies and content - from the earliest internet radio broadcasts to the development of algorithmic music services and the origins of podcasting - are not a disruption, but a continuation of the century-long history of radio. Today's most innovative media makers are reintroducing forms of audio storytelling from radio's past. Sound Streams is the first book to historicize radio-internet convergence from the early '90s through the present, demonstrating how so-called new media represent an evolutionary shift that is nevertheless historically consistent with earlier modes of broadcasting. Various iterations of internet radio, from streaming audio to podcasting, are all new radio practices rather than each being a separate new medium: radio is any sound media that is purposefully crafted to be heard by an audience. Rather than a particular set of technologies or textual conventions, web-based broadcasting combines unique practices and features and ideas from radio history. In addition, there exists a distinctive conversationality and reflexivity to radio talk, including a propensity for personal stories and emotional disclosure, that suits networked digital media culture. What media convergence has done is extend and intensify radio's logics of connectivity and sharing; sonically mediated personal expression intended for public consideration abounds in online media networks. Sound Streams marks a significant contribution to digital media and internet studies. Its mix of cultural history, industry research, and genre and formal analysis, especially of contemporary audio storytelling, will appeal to media scholars, radio and podcast practitioners, audio journalism students, and dedicated podcast fans.

During the twentieth century, electronic technology enabled the explosive development of new tools for the production, performance, dissemination and conservation of music. The era of the mechanical reproduction of music has, rather ironically, opened up new perspectives, which have contributed to the revitalisation of the performer's role and the concept of music as performance. This book examines questions related to music that cannot be set in conventional notation, reporting and reflecting on current research and creative practice primarily in live electronic music. It studies compositions for which the musical text is problematic, that is, non-existent, incomplete, insufficiently precise or transmitted in a nontraditional format. Thus, at the core of this project is an absence. The objects of study lack a reliably precise graphical representation of the work as the composer or the composer/performer conceived or imagined it. How do we compose, perform and study music that cannot be set in conventional notation? The authors of this book examine this problem from the complementary perspectives of the composer, the performer, the musical assistant, the audio engineer, the computer scientist and the musicologist.