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Books on the topic 'Appropriated sound and style'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Yagoda, Ben. The Sound on the Page. New York: HarperCollins, 2008.

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2

Music, sound and filmmakers: Sonic style in cinema. New York, NY: Routledge, 2012.

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3

The sound effects bible: How to create and record Hollywood style sound effects. Studio City, CA: Published by Michael Wiese Productions, 2008.

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4

Album: Style and image in sleeve design. London: Mitchell Beazley, 2003.

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5

The Sound on the Page: Style and Voice in Writing. New York: HarperCollins Publishers, 2004.

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6

Sound mind, sound body: A new model for lifelong health. New York: Simon & Schuster, 1994.

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7

Pelletier, Kenneth R. Sound mind, sound body: A new model for lifelong health. New York: Fireside, 1995.

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8

Northwest inspirations: Flavors of South Puget Sound. Olympia, Wash: Junior League of Olympia, 2009.

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9

Cinema's conversion to sound: Technology and film style in France and the U.S. Bloomington: Indiana University Press, 2005.

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10

The sound of medieval song: Ornamentation and vocal style according to the treatises. Oxford: Clarendon Press, 1998.

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11

Robert, Philip. Early recordings and musical style: Changing tastes in instrumental performance, 1900-1950. Cambridge: Cambridge University Press, 1992.

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12

Writing for the web: Creating compelling web content using words, pictures, and sound. Berkeley, Calif: New Riders, 2012.

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13

Keller, Harald, and Reiner Wolf. The beat goes on: Der Sound, der Style : Ausstellungskatalog : Museum Industriekultur Osnabrück 2. Juni - 6. Oktober 2013 : Tuchmacher-Museum Bramsche 7. Juni - 8. September 2013. Oldenburg: Isensee, 2013.

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14

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.

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15

Ansari, Emily Abrams. The Sound of a Superpower. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.001.0001.

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Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson, and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile, a method of harmonic organization that some considered more Cold War–appropriate—serialism—began to rise in status. For many composers and historians, the Cold War had effectively “killed off” musical Americanism. In this book, the author offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. She shows that the ideological conflict brought both challenges and opportunities. Some leftist Americanist composers struggled greatly in this new artistic and political environment, especially as American nationalism increasingly meant American exceptionalism. But composers of all political stripes would find in the federal government a new and unique channel through which to ensure the survival of musical Americanism, as the White House sought to use American music as a Cold War propaganda tool and American composers as cultural diplomats. The Americanists’ efforts to safeguard the reputation of their style would have significant consequences. Ultimately, they effected a rebranding of musical Americanism, with consequences that remain with us today.

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16

Salmon, Alty. Sound clash dubplate style. 2017.

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17

Foley, Greg, and Andrew Luecke. Cool: Style, Sound, and Subversion. Rizzoli, 2017.

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18

Madonna - Ambition. Music. Style. Carlton Books, Limited, 2014.

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19

KING Tubby's presents sound clash: Dubplate style. Kingston, Jamaica: King Tubby's, 1988.

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20

KING Tubbys presents Sound clash Dubplate style. King Tubbys, 1988.

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21

Yagoda, Ben. Sound on the Page. HarperCollins Publishers, 2008.

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22

Yagoda, Ben. Sound on the Page. HarperCollins Publishers, 2008.

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23

Yagoda, Ben. Sound on the Page. HarperCollins Publishers, 2008.

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24

Yagoda, Ben. Sound on the Page. HarperCollins Publishers, 2008.

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25

Viers, Ric. Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Wiese Productions, Michael, 2014.

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26

Wierzbicki, James. Music, Sound and Filmmakers: Sonic Style in Cinema. Taylor & Francis Group, 2012.

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27

Wierzbicki, James. Music, Sound and Filmmakers: Sonic Style in Cinema. Taylor & Francis Group, 2012.

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28

Wierzbicki, James. Music, Sound and Filmmakers: Sonic Style in Cinema. Taylor & Francis Group, 2012.

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29

Wierzbicki, James. Music, Sound and Filmmakers: Sonic Style in Cinema. Taylor & Francis Group, 2012.

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30

Wierzbicki, James. Music, Sound and Filmmakers: Sonic Style in Cinema. Taylor & Francis Group, 2012.

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31

VanCour, Shawn. Making Radio Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497118.003.0004.

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This chapter focuses on miking methods, mixing strategies, and performance styles developed by studio workers and on-air talent for making radio music. These strategies were governed by five principles: (1) acoustic plasticity (manipulating reverberation to simulate different acoustic environments); (2) sonic restraint (eschewing forceful concert-hall projections in favor of more subdued, microphone-appropriate performance styles); (3) flattening of curves (compression of dynamic range, yielding a uniformly close-up sound); (4) sonic parsimony (reduction of sonic inputs to maintain clarity of reproduction); and (5) intelligibility (rejecting fidelity to real-world spatial relationships in favor of a clear and evenly balanced sound). Embraced for broadcasting during the early and middle years of the 1920s, these principles helped to professionalize and legitimize radio’s emerging forms of soundwork and would also inform parallel strategies pursued in recording studios and Hollywood soundstages, facilitating broader shifts in period sound culture.

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32

Mccreesh, Thomas P. Biblical Sound and Sense: Poetic Sound Patterns in Proverbs 10-29. Sheffield Academic Pr, 2009.

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33

Hollywood Soundscapes: Film Sound Style, Craft and Production in the Classical Era. British Film Institute, 2017.

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34

Hanson, Helen. Hollywood Soundscapes: Film Sound Style, Craft and Production in the Classical Era. British Film Institute, 2017.

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35

Olympia, Junior League of, ed. Northwest inspirations: Flavors of South Puget Sound. Olympia, Wash: Junior League of Olympia, 2009.

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36

Gulf Coast Symphony Orchestra Guild (Gulfport, MS.), ed. Encore! Encore!: A sequel to Cooking on the Sound. Gulfport, MS: Gulf Coast Symphony Orchestra Guild, 1999.

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37

Sound works: A beginner's guide to playing loud-style Central Javanese gamelan. [London]: Seleh Notes, 2003.

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38

McGee, Timothy J. Sound of Medieval Song: Ornamentation and Vocal Style According to the Treatises. Oxford University Press, 1998.

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39

Ó Briain, Lonán. Hybridity and the Other in Modern National Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0003.

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The process of inventing a national musical tradition for newly independent Vietnam demanded the inclusion of appropriate features from the minority cultures. Scholars compiled studies of these groups and ascribed musical instruments and styles to particular people. Composers and performers were then encouraged, via the awards and honors that were bestowed upon them by the Communist Party, to incorporate these features into their musical palettes. Lương Kim Vĩnh, a state-employed musician from the Viet majority, successfully modified the Hmong reed pipe for use in modern national music, and he became internationally renowned for his innovative compositions and performances on this instrument. Chapter 2 examines the evolution of his “Hmong” sound, which has become a synecdoche for a wider pan-minority sound in contemporary Vietnam. His development of the modified reed pipe is used as a lens for studying the assimilation of the musical Other into Vietnamese modern national music.

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40

Yagoda, Ben. Sound on the Page: Great Writers Talk about Style and Voice in Writing. HarperCollins Publishers, 2009.

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41

O'Brien, Charles. Cinema's Conversion to Sound: Technology and Film Style in France and the U. S. Indiana University Press, 2005.

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42

Stag Dos and Speeches: Sound Advice for Sending Your Groom off in Style. Ryland Peters & Small, 2019.

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43

The Sound on the Page: Great Writers Talk about Style and Voice in Writing. Collins, 2005.

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44

Yagoda, Ben. The Sound on the Page: Great Writers Talk about Style and Voice in Writing. Collins, 2005.

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45

Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 19001950. Cambridge University Press, 2004.

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46

Steiger, Diego. Compact Cassette Vintage Style Calendar 2022: Annual Calendar for Music Lovers and Sound Experts. Independently Published, 2021.

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47

Phonographs With Flair: A Century of Style in Sound Reproduction (Schiffer Book for Collectors). Schiffer Publishing, 2001.

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48

Cimini, Amy. Wild Sound. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190060893.001.0001.

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“We haven’t even made it to breakfast!” Composer Maryanne Amacher (1938–2009) often used this phrase to marvel at critical and partial approaches to knowledge production across the vast artistic, technical, and scientific discourses with which she worked. Her musical thought encompassed original presentational formats in existing and speculative media as well as approaches to sound and ways of listening that conjoined real and imagined social worlds. In these conjunctions, this book discerns meeting points between frameworks for life that emerged from Amacher’s multidisciplinary study of sound and listening: within acoustical spectra, inside human bodies and ears, across cities and edgleands, amid hypothetical creatures, and between virtual, fictive, or distanciated environments. These figurations guide interpretative study of six signal projects: Adjacencies (1965/1966); City-Links (1967–1988); Additional Tones (1976/1987); Music for Sound-Joined Rooms (1980–2009); Mini Sound Series (1985–2009); and Intelligent Life (1980s), and countless sketches, notes, and unrealized projects. The book explores Amacher’s working methods with an interpretive style that emphasizes technical study, conceptual juxtaposition, intertextual play, and narrative transport. This book also takes up Amacher’s work as a guiding thread across shifting social discourses on life in the late twentieth-century United States. Her projects convoked figurations of life and technoscience that could be partially and ironically accessed or conceptualized via complex auditory thresholds. This nascent epistemology rooted in feminist science and technology studies centers biopolitical questions about difference and power in artistic and critical work that counts Amacher among its precedents.

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49

Bliss, Dominic. Bachelor Parties and Best Man Speeches: Sound Advice for Sending Your Groom off in Style. Ryland Peters & Small, 2019.

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50

Bliss, Dominic. Bachelor Parties and Best Man Speeches: Sound Advice for Sending Your Groom off in Style. Ryland Peters & Small, 2013.

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