|
Books > Arts & Architecture > Music > Music recording & reproduction
This book provides a broad overview of spaciousness in music
theory, from mixing and performance practice, to room acoustics,
psychoacoustics and audio engineering, and presents the derivation,
implementation and experimental validation of a novel type of
spatial audio system. Discussing the physics of musical instruments
and the nature of auditory perception, the book enables readers to
precisely localize synthesized musical instruments while
experiencing their timbral variance and spatial breadth. Offering
interdisciplinary insights for novice music enthusiasts and experts
in the field of spatial audio, this book is suitable for anyone
interested in the study of music and musicology and the application
of spatial audio mixing, or those seeking an overview of the state
of the art in applied psychoacoustics for spatial audio.
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.
This book uncovers how music experience-live and recorded-is
changing along with the use of digital technology in the 2000s.
Focussing on the Nordic region, this volume utilizes the theory of
mentalization: the capacity to perceive and interpret what others
are thinking and feeling, and applies it to the analysis of
mediated forms of agency in popular music. The rise of new media in
music production has enabled sound recording and processing to
occur more rapidly and in more places, including the live concert
stage. Digital technology has also introduced new distribution and
consumption technologies that allow record listening to be more
closely linked to the live music experience. The use of digital
technology has therefore facilitated an expanding range of
activities and experiences with music. Here, Yngvar Kjus addresses
a topic that has a truly global reach that is of interest to
scholars of musicology, media studies and technology studies.
|
|