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Books on the topic 'Sonic Spaces'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

1948-, Smith Stuart, and DeLio Thomas 1951-, eds. Words and spaces: An anthology of twentieth century musical experiments in language and sonic environments. Lanham, MD: University Press of America, 1989.

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2

Sonic spaces of the Karoo: A groundbreaking study of music in an ethnically marginalized South African community. Philadelphia: Temple University Press, 2011.

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3

Levy, Lionel L. Investigation of sonic boom for the space shuttle: Low cross-range orbiter. [Washington, DC: National Aeronautics and Space Administration, 1993.

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4

Darden, Christine M. Status of sonic boom methodology and understanding: Proceedings of a workshop sponsored by the National Aeronautics and Space Administration and held at NASA Langley Research Center, Hampton, Virginia, January 19-20, 1988. Hampton, Va: Langley Research Center, 1989.

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5

Darden, Christine M. High-Speed research: sonic boom: Proceedings of a conference sponsored by the National Aeronautics and Space Administration, Washington, D. C., and held at Langley Research Center, Hampton, Virginia, February 25-27, 1992. Hampton, Va: Langley Research Center, 1992.

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6

McCurdy, David A. High-Speed Research: 1994 Sonic Boom Workshop: Atmospheric propagation and acceptability studies : proceedings of a workshop sponsored by the National Aeronautics and Space Administration and held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: Langley Research Center, 1994.

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7

Chaos media: A sonic economy of digital space. London: Bloomsbury Academic, 2015.

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8

Gee, Brigham Young University Kent, and Sally Anne McInerny. Commercial Space Operations Noise and Sonic Boom Measurements. Washington, D.C.: Transportation Research Board, 2020. http://dx.doi.org/10.17226/25834.

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9

ill, Yardley Tracy 1979, ed. Sonic universe: Silver saga. New York: Archie Comic Publications, 2014.

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10

Bradley, Kevin A., Michael M. James, Alexandria R. Salton, and Eric R. Boeker. Commercial Space Operations Noise and Sonic Boom Modeling and Analysis. Washington, D.C.: Transportation Research Board, 2018. http://dx.doi.org/10.17226/25100.

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11

ill, Yardley Tracy 1979, ed. Sonic universe: Journey to the east. Mamaroneck, NY: Archie Comic Publications, 2013.

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12

Garcia, Frank. Correlation of predicted and measured sonic boom characteristics from the reentry of STS-1 Orbiter. Washington, D.C: National Aeronautics and Space Administration, Scientific and Technical Information Branch, 1985.

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13

Garcia, Frank. Correlation of predicted and measured sonic boom characteristics from the reentry of STS-1 Orbiter. Washington, D.C: National Aeronautics and Space Administration, Scientific and Technical Information Branch, 1985.

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14

Garcia, Frank. Correlation of predicted and measured sonic boom characteristics from the reentry of STS-1 Orbiter. Washington, D.C: National Aeronautics and Space Administration, Scientific and Technical Information Branch, 1985.

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15

United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Nominations--September-October: Hearings before the Committee on Commerce, Science, and Transportation, United States Senate, Ninety-ninth Congress, second session on September 11, 1986, John W. Melchner, to be inspector general, Department of Transportation; and William R. Graham, to be director, Office of Science and Technology Policy, September 17, 1986, Sonia Landau and R. Kenneth Towery ... September 22, 1986, Dale E. Myers ... October 2, 1986, Daniel Brenner .... Washington: U.S. G.P.O., 1987.

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16

United, States Congress Senate Committee on Commerce Science and Transportation. Nominations--September-October: Hearings before the Committee on Commerce, Science, and Transportation, United States Senate, Ninety-ninth Congress, second session on September 11, 1986, John W. Melchner, to be inspector general, Department of Transportation; and William R. Graham, to be director, Office of Science and Technology Policy, September 17, 1986, Sonia Landau and R. Kenneth Towery ... September 22, 1986, Dale E. Myers ... October 2, 1986, Daniel Brenner .... Washington: U.S. G.P.O., 1987.

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17

United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Nominations--September-October: Hearings before the Committee on Commerce, Science, and Transportation, United States Senate, Ninety-ninth Congress, second session on September 11, 1986, John W. Melchner, to be inspector general, Department of Transportation; and William R. Graham, to be director, Office of Science and Technology Policy, September 17, 1986, Sonia Landau and R. Kenneth Towery ... September 22, 1986, Dale E. Myers ... October 2, 1986, Daniel Brenner .... Washington: U.S. G.P.O., 1987.

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18

United, States Congress Senate Committee on Commerce Science and Transportation. Nominations--September-October: Hearings before the Committee on Commerce, Science, and Transportation, United States Senate, Ninety-ninth Congress, second session on September 11, 1986, John W. Melchner, to be inspector general, Department of Transportation; and William R. Graham, to be director, Office of Science and Technology Policy, September 17, 1986, Sonia Landau and R. Kenneth Towery ... September 22, 1986, Dale E. Myers ... October 2, 1986, Daniel Brenner .... Washington: U.S. G.P.O., 1987.

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19

United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Nominations--September-October: Hearings before the Committee on Commerce, Science, and Transportation, United States Senate, Ninety-ninth Congress, second session on September 11, 1986, John W. Melchner, to be inspector general, Department of Transportation; and William R. Graham, to be director, Office of Science and Technology Policy, September 17, 1986, Sonia Landau and R. Kenneth Towery ... September 22, 1986, Dale E. Myers ... October 2, 1986, Daniel Brenner .... Washington: U.S. G.P.O., 1987.

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20

Arnold, J. Douglas, and Zach Meston. Awesome Sega Genesis Secrets 3. Lahaina, HI: Sandwich Islands Publishing, 1993.

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21

DeMaria, Rusel, and Zach Meston. Sega Genesis Secrets, Volume 2. Rocklin, CA: Prima Publishing, 1991.

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22

Mcdermott, Leeanne. GamePro Presents: Sega Genesis Games Secrets: Greatest Tips. Rocklin: Prima Publishing, 1992.

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23

Prima. Official Sega Genesis: Power Tips Book. Rocklin, CA: Prima Publishing, 1992.

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24

Sandler, Corey. Official Sega Genesis and Game Gear strategies, 3RD Edition. New York: Bantam Books, 1992.

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25

Tom, Badgett, ed. Official Sega Genesis and Game Gear strategies, 2ND Edition. Toronto: Bantam Books, 1991.

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26

Awesome Super Nintendo Secrets 2. Lahaina, USA: Sandwich Islands Publishing, 1993.

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27

Porter, Mark. Ecologies of Resonance in Christian Musicking. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534106.001.0001.

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Ecologies of Resonance in Christian Musicking explores a diverse range of Christian musical activity through the conceptual lens of resonance, a concept rooted in the physical, vibrational, and sonic realm that carries with it an expansive ability to simultaneously describe personal, social, and spiritual realities. In this book, Mark Porter proposes that attention to patterns of back-and-forth interaction that exist in and alongside sonic activity can help to understand the dynamics of religious musicking in new ways and, at the same time, can provide a means for bringing diverse traditions into conversation. The book focuses on different questions arising out of human experience in the moment of worship. What happens if the entry point of a human being experiencing certain patterns of (more than) sonic interaction with the world around them is taken as a focus for exploration? What different ecologies of interaction can be encountered? What kinds of patterns can be traced through different Christian worshiping environments? And how do these operate across multiple dimensions of experience? Chapters covering ascetic sounding, noisy congregations, and Internet live-streaming, among others, serve to highlight the diverse ecologies of resonance that surround Christian musicking, suggesting the potential to develop new perspectives on devotional musical activity that focus not primarily on compositions or theological ideals but on changing patterns of interaction across multiple dimensions between individuals, spaces, communities, and God.

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28

Aghoro, Nathalie. The Acoustics of the Social on Page and Screen. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781501361418.

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Sound positions individuals as social subjects. The presence of human beings, animals, objects, or technologies reverberates into the spaces we inhabit and produces distinct soundscapes that render social practices, group associations, and socio-cultural tensions audible. The Acoustics of the Social on Page and Screen unites interdisciplinary perspectives on the social dimensions of sound in audiovisual and literary environments. The essays in the collection discuss soundtracks for shared values, group membership, and collective agency, and engage with the subversive functions of sound and sonic forms of resistance in American literature, film, and TV.

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29

Sonic Universe. Archie Comic Publications, 2012.

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30

Sonia Leimer: Space Junk. Hatje Cantz Verlag GmbH & Co KG, 2021.

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31

Dima, Vlad. Sonic Space in Djibril Diop Mambety's Films. Indiana University Press, 2017.

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32

Dima, Vlad. Sonic Space in Djibril Diop Mambety's Films. Indiana University Press, 2017.

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33

Sonic Space in Djibril Diop Mambety's Films. Indiana University Press, 2017.

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34

The Sonic Universe. Archie Comic Publications, 2012.

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35

Kennedy, Stephen. Chaos Media: A Sonic Economy of Digital Space. Bloomsbury Academic & Professional, 2015.

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36

Kennedy, Stephen. Chaos Media: A Sonic Economy of Digital Space. Bloomsbury Publishing Plc, 2016.

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37

Maree, Claire. queerqueen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190869618.001.0001.

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Queerqueen examines the editing and writing of queer excess into Japanese popular culture through mediatization of queerqueen styles. The book illustrates how a diversity of gender identifications, sexual orientations, and discursive styles are packaged together as if to form a homogenous character—the queerqueen. In a range of genres from conversational dialogue books to lifestyle television and animations, queerqueen styles are configured as crossing into popular media via the body of the authentically “queer male,” whose “authentic” speech is produced spontaneously without scripting. Editorial interventions enacted through the collaborative language labor of stenographers and record makers, graphic designers and illustrators, and editorial teams (re)trace the sonic qualities of the queerqueen. Through visual mimesis, contemporaneous citational practices, and the mobilization of nostalgia, queerqueen styles are enregistered as talk that is inherently excessive and in need of containment. Editorial acts of containment such as self-censorship simultaneously expose the sexualized nature of gendered norms of talk in Japanese. It is also here that possible spaces for dissent open up through contestation of the limits to excess. The visual and sonic crossings of gender norms unsettle heteronormative mapping of speech styles onto statically gendered bodies. Strategic use of a variety of linguistic resources such as hyper-masculine forms and hyper-politeness exposes the veneers of technologies that seek to regiment excess. Analysis of the inscription of queerqueen styles reveals metapragmatic stereotypes of gender, sexuality, and desire that are essential to the business of mainstream entertainment.

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38

illustrator, Yardley Tracy 1979, ed. Sonic universe: Treasure team tango. Archie Comics, 2013.

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39

Flynn, Ian. Sonic universe: The tails adventure. 2013.

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40

O'Leary, Jared, and Evan Tobias. Sonic Participatory Cultures within, through, and around Video Games. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.28.

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This chapter is concerned with the diverse ways that people engage with music or sound within, through, and around video games. It begins with a review of literature on games as a leisure activity and sonic space, followed by highlighting various frameworks of participatory cultures. The bulk of the chapter connects these participatory culture frameworks with examples of engagement in sonic participatory cultures and sonic participation within, through, and around video games. Although these categories of sonic participation are divided into three sections, the chapter concludes with a discussion on the overlapping nature of sonic participation and implications for leisure as sonic participation.

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41

Ingalls, Monique M. Bringing Worship to the Streets. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190499631.003.0005.

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Chapter 4 examines what happens when congregational music “goes public” through the lens of the praise march, a public procession in which evangelical Christians sing contemporary worship songs in the streets of their cities. It examines two consecutive praise marches in Toronto—the March for Jesus and the Jesus in the City Parade—as public congregations whose participants use contemporary worship music to engage in spiritual warfare, to imagine and embody the global evangelical community while creating new intimacies, and to unify area Christians across ethnic, national, and denominational difference. In examination of the sonic practices and values at these praise marches, two models of the public congregation emerge, characterized by differing performance and ethical ideals. Evangelicals use contemporary worship music in public spaces not only to define their public image, but also to delineate the boundaries of their regional community and manage diversity within those boundaries.

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42

Chattopadhyay, Budhaditya. The Auditory Setting. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.001.0001.

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The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and its production. The aim of this book is to question classical assumptions about sound in film and media arts (e.g., image-based relationships) and shift the focus towards the site and its sonic environment, whose presence is often carefully constructed in a film or media artwork’s diegetic world as a vital narrative strategy. The emphasis on site in the book enables an informed investigation of an essentially anthropogenic process of the sonic environment’s mediation and (re)production. Sonic environments are inhabited, experienced, exploited and transformed every day, their corporeality augmented by human agency in mediated forms. The human agency of sonic environments is crucial to unwrap in order to understand cultural expectations from the audiovisual media; greater awareness is required of narration, depiction, communication and artistic production approaches and affordances harnessed through media technologies. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.

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43

A, McCurdy David, and Langley Research Center, eds. High-speed research: 1994 Sonic Boom Workshop : configuration design, analysis, and testing : proceedings of a workshop ... held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1999.

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44

A, McCurdy David, and Langley Research Center, eds. High-speed research: 1994 Sonic Boom Workshop : configuration design, analysis, and testing : proceedings of a workshop ... held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1999.

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45

A, McCurdy David, and Langley Research Center, eds. High-speed research: 1994 Sonic Boom Workshop : configuration design, analysis, and testing : proceedings of a workshop ... held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1999.

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46

A, McCurdy David, and Langley Research Center, eds. High-speed research: 1994 Sonic Boom Workshop : configuration design, analysis, and testing : proceedings of a workshop ... held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1999.

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47

A, McCurdy David, and Langley Research Center, eds. High-speed research: 1994 Sonic Boom Workshop : configuration design, analysis, and testing : proceedings of a workshop ... held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1999.

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48

A, McCurdy David, and Langley Research Center, eds. High-speed research: 1994 Sonic Boom Workshop : configuration design, analysis, and testing : proceedings of a workshop ... held in Hampton, Virginia, June 1-3, 1994. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1999.

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49

Till, Nicholas. “Sound Houses”. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.48.

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This chapter looks at the relationship of music and architecture, both historically and with regard to the “spatial” and “acoustic” turns in recent cultural thinking. The author suggests that during the twentieth century sound art offered a distinctive challenge to the formalizing tendencies of both modernist music and modernist architecture. Architecture is instead understood in its multi-sensory materiality, while the sonic is understood as an intrinsic property of architectural experience. Similarly, space is understood as an intrinsic property of music, while much recent musical practice is shown to have recognized the inextricable association of sound and space. Examining the work of sound artists alongside the spatially conceived music of composers, this chapter considers the spatial and acoustic turns of the later twentieth century as a means for thinking about the postmodern sonic as a field that challenges the old modernist aspiration of both music and architecture to aesthetic autonomy.

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50

De Souza, Jonathan. Voluntary Self-Sabotage. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0005.

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When musicians alter their instruments, they may open up new sonic possibilities. Yet instrumental alteration can also induce dynamic remapping of players’ auditory-motor associations, subverting habitual connections between performative action and sonic effect. Instrumental alteration, at this level, affects players’ perception. This chapter considers experimental research on altered auditory feedback in instrumental performance, then turns to a series of case studies related to guitar improvisation. It distinguishes between three kinds of instrumental alteration—retuning, preparation, and redesign—that affect action-sound coupling and instrumental space in different ways. Drawing on Emmanuel Levinas’s phenomenological reflections on touch, the chapter ultimately argues that the remapping stimulated by instrumental alteration reveals forms of aesthetic or sensual contact with instruments.

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