Journal articles on the topic 'Sound essay'
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1
Engelke, Matthew. "Word, Image, Sound." Comparative Studies of South Asia, Africa and the Middle East 41, no. 2 (August 1, 2021): 148–52. http://dx.doi.org/10.1215/1089201x-9127011.
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Abstract This essay introduces the special section “Word, Image, Sound,” a collection of essays on public religion and religious publicities in Africa and South Asia. The essays cover case studies in Myanmar, Zambia, Senegal, Rwanda, and Egypt. The introduction situates the essays in relation to the broader fields of work on the public sphere and publics, especially as they relate to recent work in the human sciences that focus on materiality, the senses, and media.
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Eckstein, Justin. "Response to Groarke : Figuring Sound." Informal Logic 38, no. 3 (September 14, 2018): 341–45. http://dx.doi.org/10.22329/il.v38i3.5120.
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This essay notes the tendency to reduce sound to a cause of something else. Such a position constrains theory construction to only cause and effect schemes. I argue that we should expand our understanding of sound to include what I term sound figures, which acknowledge that sounds can represent the world. I conclude by offering an understanding of sound fig-ures tied to their resonance.
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Ricci, Ronit. "Sound across Languages." Philological Encounters 5, no. 2 (April 15, 2020): 97–111. http://dx.doi.org/10.1163/24519197-bja10002.
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Abstract In his insightful essay, “Silence Across Languages,” (1995) A.L. Becker suggested that every language consists of a particular balance between speech and silence: between what can be expressed in words and what must remain unspoken. One important implication of this fact, he further claimed, is that the different silences between and across languages make translation very difficult, if not utopian. Taking Becker’s essay as its starting point this essay explores the question of silence and sound in translation through a study of interlinear translation. An inter-linear translation in which each line is Arabic is followed by its translation into Malay constitutes a microcosm in which to view the act of translation from up close and in detail. The essay suggests that it is also a space in which silences are “not allowed,” or must be overcome, as these translations do not offer the luxury of adaptation and re-tellings where words, idioms, grammatical and syntactical elements can be glossed over, ignored or remain unheard. An interlinear space forces the scribe, translator, reader and listener to produce and pronounce the sounds of different languages even when they are “incompatible” and thus may overcome the silences, in however small a way, and offer us a paradigm of “sound across languages.”
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Baker, Jessica Swanston. "Sugar, Sound, Speed." Representations 154, no. 1 (2021): 23–34. http://dx.doi.org/10.1525/rep.2021.154.3.23.
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This essay presents the song “Area Code 869,” an example of a Caribbean genre known as “wilders” or “pep,” as a form of what Kodwo Eshun calls “sonic fiction.” By focusing on sonic bodies as “bodies touched by sound,” the essay suggests that “869” offers a reimagination of the historical relationship between sugar, sound, and speed in the Eastern Caribbean island of St. Kitts, a former British sugar colony.
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System, Tikur Sound. "Dub Essay #1 - Tikur Sound System." Journal of World Popular Music 8, no. 1 (June 23, 2021): 74–76. http://dx.doi.org/10.1558/jwpm.43088.
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System, U. N. I. T. Y. Sound. "Dub Essay #2 - U.N.I.T.Y. Sound System." Journal of World Popular Music 8, no. 1 (June 23, 2021): 122–23. http://dx.doi.org/10.1558/jwpm.43091.
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Suchy, Patricia A. "New, Sound, and Tight." Departures in Critical Qualitative Research 7, no. 4 (2018): 171–75. http://dx.doi.org/10.1525/dcqr.2018.7.4.171.
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Originally delivered as a response to Rachel N. Hastings's performance of “Black Human” at the Opening Session of the 2017 National Communication Association annual convention, this essay celebrates the reclaiming of the prominence of the practice of performing poetry in this organization as a vital part of its legacy. Tracing the significance of the term “poet” through the German dichter, the essay urges an understanding of the poet's ability to “push back against oppressive bureaucracy” in the academy as well as in the world, and to perform resistance against contemporary cultural tyrannies that insist our legacies are the exclusive property of those in power. The essay at times breaks into performative writing in the form of poetic diction in order to respond to the call of Hastings's poem.
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Hales, Jeffrey, Ella Mae Matsumura, Donald V. Moser, and Rick Payne. "Becoming Sustainable: A Rational Decision Based on Sound Information and Effective Processes?" Journal of Management Accounting Research 28, no. 2 (January 1, 2016): 13–28. http://dx.doi.org/10.2308/jmar-51394.
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ABSTRACT This article is based on a panel discussion of accounting and sustainability at the AAA 2014 Management Accounting Section Midyear Meeting. It first provides background and motivation for the original panel and then presents the three panelists' remarks, which have been further extended in developing this article. The article therefore consists primarily of three essays. The first essay discusses the information on which CSR decisions could be based, emphasizing the role of regulation in promoting the production of new types of information. The second essay discusses how to assess the rationality of CSR investments. The third essay approaches the question of the rationality of CSR initiatives by first drawing an analogy to investments in customer satisfaction and quality improvement and then by considering the role of incentives and performance measures in driving sustainability. The latter two essays also provide specific guidance for experimental, archival, and field researchers interested in researching sustainability.
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Vericat, Fabio L. "Read My Lips: Onscreen Visual Acoustics in Alfred Hitchcock’s Early Movies." Epos : Revista de filología, no. 37 (December 21, 2021): 225–41. http://dx.doi.org/10.5944/epos.37.2021.32480.
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This essay will cover some of Alfred Hitchcock’s early silent movies up to and including Blackmail (1929), of which he filmed both a silent and a sound version simultaneously. Hitchcock’s success with sound was directly linked to his training in silent technique. Silent movies actually allowed him to explore how they were capable of sound. This essay will consider how silent movies were able to induce an acoustic experience without the aid of extra-diegetic practices that added live – and sometimes gramophonic – soundtrack to films. What I am interested in is the aural effect of the visual experience of the screen alone. In the early days of cinema, the frame was silently read for all kind of sounds heard in the head of the spectator.
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Beaudoin, Paul. "At the Border of Poetry and Music." Resonance 3, no. 4 (2022): 364–78. http://dx.doi.org/10.1525/res.2022.3.4.364.
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This essay examines Ilmar Laaban’s “Ciel Inamputable” in the context of developing text-sound composition in Sweden during the 1960s and spectral analysis. Laaban’s improvisatory work is analyzed using primary source material and a “theory of oppositions” as codified by American music theorist Robert Cogan. The essay connects the scientific work of the Fylkingen language group to research in spectral analysis and linguistics directly to Laaban’s text-sound work. This is the first study to examine Laaban’s work using the technique of spectral analysis and one of the few essays in English to look in-depth at Laaban’s “Ciel Inamputable.”
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Goffe, Tao Leigh. "Bigger than the Sound." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (November 1, 2020): 97–127. http://dx.doi.org/10.1215/07990537-8749806.
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This essay examines the political economy of Caribbean cultural capital and the formation of reggae in Jamaica in the 1950s. Through study of the Afro-Asian intimacies and tensions embedded in the sound of preindependence Jamaica, the essay traces the birth of the “sound-system” to the networks of local small-retail grocery shops, ubiquitous across Jamaica, that were owned and operated by Jamaican Chinese shopkeepers and examines how they formed material infrastructures. In charting the hardwiring of speakers and how the sociality of the shop housed the production of a new sound, the essay argues that sonic innovation was derived from Afro-Jamaican servicepeople who returned from World War II with military technological expertise, which they applied to sound engineering, and from entrepreneurial guilds of Jamaican merchants and shopkeepers of Chinese, Afro-Chinese, and Indo-Chinese descent, who helped form the conditions of possibility for the production and global distribution of reggae. Thus the networks of Jamaican Chinese diasporic capital and talent, producing and performing, helped to engineer the electrical flows of reggae to rural areas and urban dancehall parties.
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Lee, Jean. "Movement in Sound/Sound in Movement: Choreographic Answer." Congress on Research in Dance Conference Proceedings 2012 (2012): 103–7. http://dx.doi.org/10.1017/cor.2012.12.
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This essay illustrates the working of the process of music and dance collaboration that has been developed since 2010 by composer Elo Masing and choreographer Jean Lee. It includes exemplification of their empirical work from a first person viewpoint, presented in chronological order. This paper questions how performer(s) to performer(s) interrelationship will affect the performer(s) to spectator(s) interrelationship in live performance, encompassing improvisation and examining spectatorship.
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Frank, Hannah. "The Hitherto Unknown: Toward a Theory of Synthetic Sound." boundary 2 49, no. 1 (February 1, 2022): 71–103. http://dx.doi.org/10.1215/01903659-9615403.
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In the 1920s and 1930s, filmmakers in Germany, the Soviet Union, and the United States created synthetic sounds by printing photographic or drawn patterns directly onto a filmstrip's optical soundtrack. This essay examines these practices alongside the radical film theories of Dziga Vertov and Jean Epstein in order to test the limits of sonic epistemology—and, ultimately, to imagine what it might mean to conceive of synthetic sound as documentary sound.
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Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.
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The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character.
This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.
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Shank, Barry L. "Sound + Bodies in Community = Music." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 177–89. http://dx.doi.org/10.47060/jaaas.v1i2.120.
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The analytical framework of sound studies is transforming our understanding of the political force of music. Following the lead of scholars like Nina Eidsheim and Salomé Voegelin, this essay considers the resonating force of listening bodies as a central factor in the musical construction of political community. This essay traces the tradition of African American music from congregational gospel singing through early rhythm and blues up to the twenty-first-century rap of Kendrick Lamar, showing how particular musical techniques engage the bodies in the room, allowing communities of difference to find their rhythms together.
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Charles, Bernstein. "Doubletalking the homophonic sublime: Comedy, appropriation, and the sounds of one hand clapping." SAJ - Serbian Architectural Journal 11, no. 2 (2019): 285–306. http://dx.doi.org/10.5937/saj1902285c.
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Homophonic translations create poems that foreground the sound of the original more than the lexical meaning. I begin by discussing the concept of "sound writing," referencing Haroldo de Campos's concept of "transcration," Pound's "transduction," and the concept behind calques. I then consider my homophonic translation of Finnish poet Leevi Lehto follows and Ulises Carrión's isophonic translation. After noting Basil Bunting idea that meaning is carried by sound more than lexical content, I discuss Khelbnikov's approach to zaum (transense), and soundalike works based on bird song and animal sounds. The essay then takes up several specific examples: David Melnick's homophonic translation of Homer, Pierre Joris's voice recognition translation of Magenetic Fields, and Jean Donneley's version of Ponge. The essay concludes with a discussion of Caroline Bergvall's Drift, her version of "The Seafarer" as well as her Chaucer transcreations. A central part of the essay references "homophonic" translation in popular culture, in particular the "doubletalking" of Sid Caesar," the most popular TV comedian of the early 1950s. A discussion of his work in the context of American Jewish comedy is central to the lecture. But other more recent popular example of the homophonic are discussed with special reference to cultural appropriation.
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Alvarez, Eddy Francisco. "Jotería Listening." Journal of Popular Music Studies 33, no. 4 (December 1, 2021): 126–51. http://dx.doi.org/10.1525/jpms.2021.33.4.126.
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This essay is a mapping of Latinx queer listening practices and spaces, such as bars and restaurants, as forms of resistance to gentrification in the Silver Lake neighborhood of Los Angeles. Using a framework called “joteria listening,” and following the route of a performance event and ritual called LA Queer Posada in 2011, the author charts a sonic trail composed of sounds, songs, and memories of places and people in Silver Lake displaced by gentrification and historical erasure. Drawing from sound studies, performance studies and joteria studies, and using oral histories, interviews, archival sources, and ethnography, this essay offers innovative ways to think of queer Latinx sound and space as it adds layers to the palimpsestic map of Silver Lake and beyond. While listening to urban hauntings, sounds of loss, celebration and resistance, it offers new ways of remembering, performing and imagining community, futurity, and a more just world.
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Davies, Stephen, and Peter Kivy. "Sound Sentiment: An Essay on the Musical Emotions." Journal of Aesthetics and Art Criticism 49, no. 1 (1991): 83. http://dx.doi.org/10.2307/431655.
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Chivoiu, Oana. "Marcell Iványi's Wind: A visual essay on sound." Short Film Studies 2, no. 2 (February 18, 2012): 205–8. http://dx.doi.org/10.1386/sfs.2.2.205_1.
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Verma, Neil. "A Juggler on the Moon: How Sounds Think in Tom Stoppard's Darkside." Recherches sémiotiques 36, no. 1-2 (September 7, 2018): 181–97. http://dx.doi.org/10.7202/1051184ar.
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This essay explores Tom Stoppard’s 2013 radio playDarkside, which incorporates elements of Pink Floyd’s 1973 albumTheDark Side of the Moon, and dramatizes a series of thought experiments. I show how the combination of these three forms necessitates a rethinking of how sounds operate in radio drama, chart the play’s habits of diversion and evasion, and discuss how these tendencies are brought to bear on the central theme of climate change. At the heart of this essay is a proposal that the idea of the “sound of thought” embodied inDarksidemay prompt a new approach to the theory of radio, one that begins not with what sounds mean, but with how sounds “think”.
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Dean, Roger T., and Freya Bailes. "‘Human understanding’ in imagining and organising sound: some implications of John Locke's Essay for ecological, cognitive and embodied approaches to composition." Organised Sound 12, no. 1 (April 2007): 89–95. http://dx.doi.org/10.1017/s1355771807001616.
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AbstractWe discuss John Locke's ideas in his essay of 1690 on sound and its cognition and relation to bodily motion. The ideas have interesting implications for the construction of organised sound. We argue that our ecological and statistical experience of sounds in our natural (and man-made) environment is in several respects critical for our choices as soundsmiths and our impressions as listeners. Sonic repetition, both sensory and imag(in)ed, contributes to that environment. Input sounds may be ‘coupled’ to output sounds; and in some cases the physical processes generating sound and the cognitive processes of receiving them are joined. As music technologists we may think of the computer, our sonic vehicle, as a joined bodily sonic-prosthesis. ‘Simple’ sonic ideas may associate with each other through shared biological bases, and become tools for creation of ‘complex’ ideas, as Locke cogitates. Furthermore, we now have new routes towards such complex sounds, including our computer prostheses.
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Tuncel, Dara. "Is Innovation a sound justification for Medical Patents?" St Andrews Law Journal 1, no. 1 (November 19, 2021): 63–72. http://dx.doi.org/10.15664/stalj.v1i1.2348.
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This essay will interrogate the legality of medical patents, arguing that one ought to reject the traditional utilitarian framework often used to justify IP law. Instead, this essay will turn to a more deontological justification for IP rights in UK law.
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Toth, Leah. "“Beautiful, If You See It the Right Way”." Resonance 2, no. 1 (2021): 52–65. http://dx.doi.org/10.1525/res.2021.2.1.52.
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David Lynch’s first feature film, Eraserhead, is considered by many to be his strangest, due to its dark industrial imagery and dissonant sound design. This essay examines the function of audible noise in Eraserhead within the context of 1970s deindustrialization and argues that noise is a key but overlooked element of the film’s overall aesthetic design—an homage to the sounds and imagery of a fading and faded industrialized United States. Listening closely firmly establishes this impression: The sound design contributes substantially to the film’s synchretic surrealism, and its ambiguity through multilayered mechanical sound highlights listeners’ interpretive practices, particularly in comparison to most films’ use of a soundtrack to dictate rather narrowly an audience’s emotional response. Gaps between what audiences hear and what they see in Eraserhead create a void strongly suggestive of loss and longing—an impression Lynch, though often reticent about his work, has indicated in many interviews over the decades. Though many studies address the fact of the film’s innovative sound design, few examine it closely in relation to its narrative and visual elements within any sort of historical context or within Lynch’s deeply idiosyncratic aesthetic sensibility. In so doing, this essay not only highlights Lynch’s remarkably consistent aesthetic but also stresses why and how Eraserhead’s sound design is an outlier, opening up, as it does, the expressive possibilities in an unconventionally noisy soundtrack.
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Donahue, Joseph. "Acousmatic Orphism: Susan Howe." CounterText 7, no. 3 (December 2021): 394–420. http://dx.doi.org/10.3366/count.2021.0243.
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In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source placed the listener in a position comparable to that of an initiate in the cult of Pythagoras. Drawing on Brian Kane's 2014 study of the origins of musique concrète (which incorporates recorded sounds) in the postwar period, Sound Unseen, this piece claims the acousmatic not only for Pythagoras but for Orpheus. It is argued that an Orphic poetics rooted in the acousmatic comes to full fruition in late Howe. Howe's own evocations of Pythagoras, and her own mythologising of the acousmatic, are examined, especially in regard to her collage method which so often and so momentously conceals or removes the visual origin of sounded syllables. The collaboration with composer David Grubbs intensifies the acousmatic poetics of Howe's text, and it is suggested, is the poem's ultimate realisation.
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Hegarty, Paul. "Noise threshold: Merzbow and the end of natural sound." Organised Sound 6, no. 3 (December 2001): 193–200. http://dx.doi.org/10.1017/s1355771801003053.
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When we ask what noise is, we would do well to remember that no single definition can function timelessly - this may well be the case with many terms, but one of the arguments of this essay is that noise is that which always fails to come into definition. Generally speaking, noise is taken to be a problem: unwanted sound, unorganised sound, excessively loud sound. Metaphorically, when we hear of noise being generated, we understand it to be something extraneous. Historically, though, noise has just as often signalled music, or pleasing sound, as its opposite. In the twentieth century, the notion of a clear line between elements suitable for compositional use (i.e. notes, created on instruments) and the world of noises was broken down. Russolo's ‘noisy machines’, Varèse and Satie's use of ostensibly non-musical machines to generate sounds, musique concrète, Cage's rethinking of sound, noise, music, silence . . .
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Slobin, Mark, Balint Sarosi, S. Stracina, Radmila Petrovic, Oskar Elschek, Z. Kumer, and J. Strajnar. "Review Essay: Recent Ethnomusicological Sound Recordings from Eastern Europe." Ethnomusicology 29, no. 2 (1985): 363. http://dx.doi.org/10.2307/852156.
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Clark, Emily Hansell. "A Postcolonial MIR?" Resonance 3, no. 4 (2022): 412–32. http://dx.doi.org/10.1525/res.2022.3.4.412.
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The field of music information retrieval (MIR) offers tools for the analysis of music and sound, for example in archives of historical recordings; but it has also been widely critiqued for bias toward Western music and Western epistemologies. There seems to be a gap, or even an irresolvable friction, between computer science-based MIR tools, problems, and methodologies, on the one hand, and, on the other hand, humanities-based research in music and media that examines sound from critical and postcolonial perspectives. This essay draws from sound studies and critical technology studies to propose that this is an opportune moment for interdisciplinary collaborations between humanities scholars and technologists to enhance critical analyses of music and sound. Key to such collaborations would be a consideration of ontological differences between the two approaches, such as divergent understandings of the fundamental concepts of music, genre, and difference. The essay takes several examples from the author’s research into sound and Dutch colonialism at the Netherlands Institute for Sound and Vision media archive in order to propose some examples of how MIR’s technological tools could potentially enhance critical humanities-driven analyses of sound, perception, and colonial difference. More broadly, the essay argues, the divergences and even tensions between disciplines can be productive for scholarly reflexivity, postcolonial or anticolonial scholarship, and applications of technological tools toward social justice goals.
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Stankievech, Charles. "From Stethoscopes to Headphones: An Acoustic Spatialization of Subjectivity." Leonardo Music Journal 17 (December 2007): 55–59. http://dx.doi.org/10.1162/lmj.2007.17.55.
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Working from a phenomenological position, the author investigates “in-head” acoustic localization in the context of the historical development of modern listening. Starting from the development of the stethoscope in the early 19th century, he traces novel techniques for generating space within the body and extrapolates from them into contemporary uses of headphones in sound art. The first half of the essay explores the history, techniques and technology of “in-head” acoustics; the second half presents three sound artists who creatively generate headphone spatializations. The essay ends with reflections on how these sound “imaging” techniques topologically shape our subjectivities.
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Simons, Jefferey. "Dickinson’s Prosodic Music: Subtlety and Exuberance." ES Review. Spanish Journal of English Studies, no. 42 (November 8, 2021): 37–54. http://dx.doi.org/10.24197/ersjes.42.2021.37-54.
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This essay explores Dickinson’s prosodic music by evidencing its expressions of subtlety and exuberance. The essay unfolds in four steps. The first step finds the poet’s prosodic music in distinctive word arrangements with these three features: interlaced phonic echoes, the rhythms of short-lined verse where rhyme marks stanzas, and the motions of intonation. The second step instances Dickinson’s prosodic subtlety in one of her envelope poems, “A Pang is more conspicuous in Spring” (Fr1545B). The third step identifies Dickinson’s prosodic exuberance in two of her bee poems, “There is a flower that Bees prefer” (Fr642) and “I suppose the time will come” (Fr1389). In this step, we discern a hermeneutic key to Dickinson’s lyric art: when a sound in the world catches her ear, the poet’s prosodic music intensifies to reflect her enchantment. The essay’s last step applies the hermeneutic key to a superlative sound in Dickinson’s poetry, that of the wind in “Of all the Sounds despatched abroad” (Fr334).
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WALKER, ALISON. "Sonic Space and Echoes of the Flesh." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (December 1, 2020): 119–39. http://dx.doi.org/10.3828/msmi.2020.8.
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This essay argues that the cinematic experience for audiences be reconsidered as a cinesomatic experience. Theorists such as Vivian Sobchack (1992; 2000; 2005) and Jennifer Barker (2009) have done much to conceptualise and theorise a sensory, embodied experience of cinema. These scholars, mainly drawing from either a Merleau-Pontian phenomenology or a Spinozist/Deleuzian theory of affect, have led the wave of new writings probing the ways in which audience engagement with film is corporeal. Their work explores cinema in terms of visual and haptic engagements, congruous with a broader move in scholarship towards the sensorial. However, despite the growth of embodied film theory in recent years, there is an even greater need to take the sensorial model of cinema spectatorship to film sound. This essay addresses cinema sound in specifically corporeal terms, demonstrating how audience experiences of film sound can be reconsidered as cinesomatic. By drawing a textual and phenomenological reading of the sound design in Gravity (Alfonso Cuarón, 2013), this essay aims to reveal new insights into the materially rich experience of a film’s soundtrack and demonstrate how a multiplicity of ‘narratives’ converge during and beyond the cinema encounter.
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Lovatt, Philippa. "Carceral soundscapes. Sonic violence and embodied experience in film about imprisonment." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 5, no. 1 (March 9, 2016): 24–39. http://dx.doi.org/10.7146/se.v5i1.23313.
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Post 9/11 the ‘invisibility’ of political prisoners as part of the ‘war on terror’ has had a direct correlation with the concealment of abusive treatment of detainees in the detention camps at Guantánamo Bay and Abu Ghraib. Details of these abuse scandals have indicated that there has been a notable shift away from the optical towards the sonic as a form of punishment and torture, with accounts of detainees being subjected to rock music played for prolonged periods at excruciating volumes (Smith, 2008). Addressing a number of key concerns – sound and phe- nomenology, sound and the ethics of spectatorship, sound and the experience/intensification of confinement, sound as a (potential) mode of resistance/control – this paper will investigate the use of sound in cinematic depictions of imprisonment including A Man Escaped (Bresson, 1956), Hunger (McQueen, 2008) and Zero Dark Thirty (Bigelow, 2012). The aim is to explore how an auditory perspective might complicate previously held ocularcentric conceptions of power in penal institutions (Foucault, 1977) and to examine how this experience of sound is represented on screen. The essay also considers how sound design can bridge the distance between self and other, and align the spectator emotionally, ethically and politically with a film’s characters. The essay thus proposes that an ethical spectatorship may require cinematic auditors to listen more critically, and it claims that a better understanding of the fundamental role that sound and listening play in the articulation and recognition – or indeed, disavowal – of the subjectivity of prisoners within these narratives may lead to an increased awareness of the politics of aesthetics of individual films. The essay concludes by suggesting that the field of sound studies creates further opportunities for research that explores these important questions about representation, spectatorship and ethics from a range of disciplinary perspectives.
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Martínez-Cruz, Paloma. "Sighting the Sound." Feminist Media Histories 7, no. 4 (2021): 27–54. http://dx.doi.org/10.1525/fmh.2021.7.4.27.
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Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.
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Sukarsono, Sukarsono, Mohamad Jazeri, and Nursamsu Nursamsu. "On Reasoning Nature of Editorial Essay in Indonesian Newspaper." International Linguistics Research 4, no. 1 (March 3, 2021): p27. http://dx.doi.org/10.30560/ilr.v4n1p27.
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Reasoning ability is fundamental for college students as well as professionals since it reflects their intellectual quality. This paper is aimed at revealing the reasoning nature in the editorial essays in Indonesian prominent newspapers. The study is qualitatively approached, by employing Content Analysis, in which (i) the types of reason and (ii) the soundness of reasons the editorial essays are objectively, systematically, and generally inferred. The data collection was conducted by documentation technique, by which the researchers selected the online editorial essays in Indonesian prominent newspapers. The study revealed that types of reason found in the essay written by IW (Indonesian Writer) are (a) statement of a means to an end, (b) a statement of cause, (c) statement of judgment based upon knowledge, and (d) statement of condition while the most reasonings practiced by IW in their essays are logically sound.
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DAVIES, STEPHEN. "Kivy, Peter. Sound Sentiment: An Essay on The Musical Emotions." Journal of Aesthetics and Art Criticism 49, no. 1 (December 1, 1991): 83–84. http://dx.doi.org/10.1111/1540_6245.jaac49.1.0083.
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Skantze, P. A. "CRITICAL STAGES SOUND CHECK." Theatre Survey 49, no. 2 (October 23, 2008): 277–83. http://dx.doi.org/10.1017/s004055740800015x.
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Imagine an E♭+5 chord opening this meditation, played on a late-1940s Gibson hollow-body ES-125 electric guitar, the instrument held high on a woman's chest so she can play and narrate at the same time. Not just what I need to tell, not just what I need to sing, but how I need to tell, how the lyrics will make this collection of notes into an essay. Close your eyes. Wouldn't you rather listen to this discourse on the field? Walking with your earphones, washing the dishes with an ear cocked for the important bits, lying on the floor after hours at the computer—you could just listen.…
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Barness, Jessica, and Vince Giles. "Like a Letter, You." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (December 27, 2017): 85–86. http://dx.doi.org/10.14195/2182-8830_5-1_15.
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Like a Letter, You is a collaborative investigation focused on the concept of ‘conversation as an object’. Originally recorded as part of a larger self-produced project titled hEar Pixels, this track manifests as an experimental soundbased reconfiguration of an original essay about handwritten correspondence: How might an analog essay be performed as a digital assemblage of sound? In what ways are the methods of a DJ tied to speech, literature, and dialog? The track is composed using a cut-and-paste process of ‘utterances’, which may be described as units of speech distinct from language that may be oral or written and are inevitably completed by a response[1] which inevitably forms a dialog. Further, these speech units may manifest through gestures associated with digital tools as a form of cultural production[2]. Like a Letter, You includes a reading of the essay aloud, snippets of informal spoken conversations between the authors, and musical bits generated with a touch-based audio mixing platform. In effect, Like a Letter, You embodies the concepts of writing, dialog, and gesture within the genre of sound literature, and it also speaks to the unpredictable nature of collaboration and human interaction.
[1] BAKHTIN, Mikhail (1986). Speech Genres and Other Late Essays. Austin: University of Texas Press.[2] NOLAND, Carrie (2009). Agency and Embodiment: Performing Gestures/Producing Culture. Cambridge, MA: Harvard University Press.
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Jati, Ariya. "Ear-Pleasing Devices in The Police’s “Every Breath You Take”." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 2, no. 3 (October 23, 2018): 39–47. http://dx.doi.org/10.14710/culturalistics.v2i3.3167.
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This essay is concerned with sound devices in The Police’s “Every Breath You Take”. The sound devices include the rhythm, metre, and rhyme in the lyric. The study is led by the relation between poetry and music, and it is intended to allow the relation to be used in the teaching of English language and literature. The study applies a textual analysis, and it adopts Cuddon’s concept of poetic sounds. The analysis shows a rhythmical metrics in the rhyming lines of the lyric. In brief, the lyric is not musical, but it is also poetic. It is expected that the study will be suitable for general readership in English language and literature, with specific interest in music.
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Toelle, Jutta. "Todas las naciones han de oyrla: Bells in the Jesuit reducciones of Early Modern Paraguay." Journal of Jesuit Studies 3, no. 3 (June 8, 2016): 437–50. http://dx.doi.org/10.1163/22141332-00303005.
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The essay focuses on the role of bells in the Jesuit reducciones. Within the contested sound world of the mission areas, bells played an important role as their sounds formed a sense of space, regulated social life, and established an audibility of time and order. Amongst all the other European sounds which Catholic missionaries had introduced by the seventeenth century—church songs, prayers in European languages, and instrumental music—bells functioned especially well as signals of the omnipotent and omnipresent Christian God and as instruments in the establishing of acoustic hegemony. Taking the Conquista espiritual by Antonio Ruiz de Montoya (1639) as its main source, the essay points to several references to bells, as objects of veneration, as part of a flexible material culture, and, most importantly, as weapons in the daily fight with non-Christians, the devil, and demons.
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Kytö, Meri. "Urban Progress as Noise: a Commentary." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 486–91. http://dx.doi.org/10.18352/hcm.567.
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This essay is a commentary on the essays of Annelies Jacobs, Nimrod Ben Zeev and Jens van de Maele. These pieces tackle the theme of urbanization and noise as three separate but intertwined discussions: unwanted sounds in Amsterdam cityscape, loud working conditions in Palestinian limekilns and ‘auditory visibility’ in offices in Britain and France. Reading the texts in resonance with the aesthetic ponderings of the futurists, one can hear the early-twentieth-century discussions of noise in two ways. Noise was something that needed regulation but at the same time it was the inescapable sign of the modern. Noise as ‘nonmusical sound’ turns into noise as a disturbance in the system of acoustic communication and into noise as the presence of power, technology and the masses in the urban landscape.
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Kusuma, Adhi, and Victa Sari Dwi Kurniati. "A Comparative Study of English and Javanese Sound Inventories." TAMANSISWA INTERNATIONAL JOURNAL IN EDUCATION AND SCIENCE 2, no. 1 (October 27, 2020): 31–35. http://dx.doi.org/10.30738/tijes.v2i1.8553.
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This essay aims at comparing and contrasting the English and Javanese with respect to the sound inventories completed. Based on Maddieson’s research (cited in Aronoff & Ress-Miller 2003, p. 183) there are between six and 95 consonants and between three and 46 vowels in a language. While English has 24 consonants and 12 vowels (Fromkin et al. 2008, p. 216) and Javanese has 23 consonants and 6 vowels (Ager 2009; Wedhawati & Arifin 2006, p. 65). In sum, the sound the English and Javanese inventories are both similar and different in several respects to how their consonants and vowels are produced and where in the mouth they are produced. Additionally, by comparing two languages, it can be seen that some sounds exist in one language but does not exist in another.Â
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Bainbridge, Danielle. "Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives." Performance Matters 8, no. 1 (June 9, 2022): 37–53. http://dx.doi.org/10.7202/1089677ar.
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This essay analyzes aural fugitivity in archives of nineteenth-century freak show performers Millie Christine McKoy and traces the difficulties in staging these archives for twenty-first-century audiences. Aural fugitivity couples theories of Black fugitivity with sound studies analysis of enslavement and nineteenth-century performance in order to explore the legacies of freak show and sideshow performers who were also enslaved. This essay, taking as an object of analysis the author's own creative work based on these archives, traces the biography of the McKoys alongside their performance strategies that resisted full archival capture through fugitive sound.
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DeLaurenti, Christopher. "Imperfect Sound Forever." Resonance 2, no. 2 (2021): 125–67. http://dx.doi.org/10.1525/res.2021.2.2.125.
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What is phonography? In this essay, Christopher DeLaurenti, a phonographer with three decades of experience, maps an axiomatic 13-lesson pedagogy through an abbreviated history of field recording, from Jesse Walter Fewkes in 1890 to Tony Schwartz in the early 1960s. This paper surveys various meanings and uses of the term phonography from a text published in 1701 to the formation in 2000 of the phonography listserv, an online community of makers of field recordings. The author, himself an early member of the phonography listserv, discusses three traits to define phonography as a community in the early 2000s: inexpensive recording equipment; a community of knowledge; and the “easy fidelity” made possible by portable and lightweight Digital Audio Tape (DAT) and MiniDisc (MD) recorders. The author contrasts the traits of phonography with elements of soundscape composition as articulated by Barry Truax, Hildegard Westerkamp, and Andra McCartney. The paper concludes by proposing possible elements of post-phonography, including remote control recording, the possibility of voice print identification, and the generation of unimagined data.
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Casadei, Delia. "Sound Evidence, 1969: Recording a Milanese Riot." Representations 147, no. 1 (2019): 26–58. http://dx.doi.org/10.1525/rep.2019.147.1.26.
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On 19 November 1969, two members of Milan’s neofolk music collective the Nuovo Canzoniere Italiano (NCI) armed themselves with portable sound recorders and wandered amongst a crowd of demonstrators near Milan’s Duomo. The resulting LP, I fatti di Milano (The events of Milan), is a puzzling hybrid of artistic and political intent. As the sleeve note explains, the demonstration degenerated into a riot and resulted in the violent—and to this day legally unresolved—death of a police officer. The NCI members presented the recording as sonic evidence of the day’s events, hoping to help the case of the demonstrators accused of murdering the policeman. The record thus constitutes not only a swerve from “music” to “sound” in the collective’s output but also a move from aesthetic artifact to sound document, indeed, to putative forensic evidence. And yet, the evidence grows inexorably murkier with every listening. This essay homes in on the contradiction between I fatti di Milano’s declared purpose and the sound recording it mobilizes toward that end. Drawing on both sound studies and Italian political philosophy, the essay argues that the record embodies and actively stages idiosyncratic but highly contemporary relationships between music and soundscape, between sound event and its technological reproduction, and ultimately between political event and the act of writing history.
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Bohlman, Andrea F. "Solidarity, Song, and the Sound Document." Journal of Musicology 33, no. 2 (2016): 232–69. http://dx.doi.org/10.1525/jm.2016.33.2.232.
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This essay offers a media archeology of the cacophonous sounds and songs of the occupational strikes at the Lenin Shipyards in Gdańsk, Poland. Political action over the course of August 1980 led to the formation and legalization of Solidarity, the first independent trade union behind the Iron Curtain. The Polish case study provides a model for the study of music and political activism that brings together history, sound, and music studies, and prompts a broader examination of listening, singing, and collective action. In their immediate wake, the successful protests stimulated celebration, critical analysis, and documentary effort. Across the initial written, recorded, and filmed accounts of the strikes, I observe a pervasive effort to invest sound with the power to authenticate these records as grass-roots history. Such chronicles, which I theorize as “sound documents,” draw attention to the important yet multivalent presence of sound and music in the project of collective opposition to state socialism in Poland through the 1980s. Two ambitious sound documents—an eclectic almanac and a radio montage—form the basis of a variegated account of the highly mediatized soundscape of the Polish strikes. They reveal the significance of anthems and simultaneously underscore the lack of sonic coherence in Gdańsk. Through the sound document, music emerges as a crucial tool through which to rethink and reconfigure the cultural history of collective action.
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Casadei, Delia. "Vico Signifying Nothing." Representations 154, no. 1 (2021): 129–42. http://dx.doi.org/10.1525/rep.2021.154.10.129.
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This essay offers a reconsideration of Giambattista Vico’s work for scholars interested in history, sound, and aurality. It takes as its point of departure the chronological table that stands at the opening of The New Science, homing in on its blind spots, raw absences, and tangled claims to objectivity. Vico’s understanding of history relies—this essay goes on to argue—on a lively world of aural metaphors involved in the act of its writing: imaginary sounds, meaningless speech, false listenings, along with invented onomatopoeic etymologies. Such unruly sounds lead us to a crucial paradox of Viconian history, one that must confront all historians invested in retrieving and rewriting the stories of those who are lost, erased, and unrepresented: what role does imagination play in the writing of history? Can human invention, imagination, and even falsehood lead us toward new historical findings? The essay closes with a gloss of Vico’s nascent theory of the physical and aural phenomenon of laughter, presented in the Vici vindiciae as a complex pathway between humanity and animality and, what’s more, as a historical interface between incommensurable stages of creaturely life.
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Christenhusz, Joep. "Soundings of Ecological Time in Contemporary Music and Sound Art." APRIA Journal 3, no. 2 (March 4, 2021): 143–53. http://dx.doi.org/10.37198/apria.03.02.a16.
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In The Natural Contract, Michel Serres asks how humanity can ever address the 'anguishing question' of climate change as long as we don't know how to conceive of the relations between time and weather; temps et temps. This essay aims to find ways in which, through music and sound art, we may be able to attune to temporalities that are less anthropocentric and more ecologically minded. In this investigative essay I will take a closer listen to four works that touch upon this theme of more-than-human time: Jennifer Walshe's Time Time Time (2019), Jem Finer's Longplayer (1999), Felix Hess' Air Pressure Fluctuations (2001) and John Luther Adams's The Place Where You Go to Listen (2004-2006). I aim to enquire how these works offer representations and sonifications of ecological notions of time through sound. Drawing on Elaine Gan's essay The Time Travelers, as well as the vast time-scales of Timothy Morton's hyperobject and Michel Serres's ideas on nonlinear, percolating time, I will further frame the notion of ecological time. To explore the correlated question of how the sonic experience manages to render these more-than-human temporalities tangible, I will turn to sound studies by both the American philosopher Christoph Cox and the Swiss sonic theorist Salomé Voegelin.
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Dzhabrailova-Kushnir E. D. "PRINCIPLES OF WORKING WITH SOUND IN M. SHALYGIN'S ESSAY “RED BELLS OF JUAN MIRO”." International Academy Journal Web of Scholar, no. 2(32) (February 28, 2019): 30–35. http://dx.doi.org/10.31435/rsglobal_wos/28022019/6344.
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The aim of the research is to establish the specifics of M. Shalygin's work with sound (using the work “Red Bells of Juan Miro" as an example), which will allow a better understanding of the originality of his music, as well as the composer's method of organizing sound and its (sound) interpretation. Thus, using the integrated method which combines the auditory and structural methods of analysis, as well as the analysis of the spectrogram of the work, the properties of the timbre elements, the principles of the organization of musical tissue, as well as the features of composer thinking and creative methods will be established od M. Shalygin.
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Campbell, Emma. "Sound and Vision." Romanic Review 111, no. 1 (May 1, 2020): 128–50. http://dx.doi.org/10.1215/00358118-8007985.
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Abstract As moralized works of natural history that are simultaneously scientific and religious, medieval bestiaries combine the modes Bruno Latour terms reference [REF] and religion [REL]. Bestiaries challenge the dualisms Latour identifies as central features of Modern thinking: they foreground the mediated nature of the world, they ground their descriptions in textual traditions and religious doctrine rather than direct observation, and they represent nature as articulate rather than mute. Latour’s modes help us understand the multimodal nature of bestiaries in ways that refuse the Modern preconceptions that often determine the reception of these texts today. Bestiaries in turn expose certain Modern biases that persist in Latour’s modes of existence, most notably in the crossing of the referential and religious modes [REF•REL]. This essay explores the larger implications of this problem by focusing on the operations of the religious mode [REL] in medieval bestiaries—a mode that includes reference [REF] but does not cross with it as a separate mode. Latour’s dismantling of the Modern opposition between world and words invites a reassessment of how we conceptualize the agency of language in the modes of existence.
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Shook, Jen. "Invisible, as Music / But Positive, as Sound." Resonance 2, no. 2 (2021): 296–306. http://dx.doi.org/10.1525/res.2021.2.2.296.
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This essay reflects upon how teaching with podcasts—as well as students’ creation of audio self-portraits, audio character portraits, and digital presentations of Indigenous playwrights’ work—directed both students and professor to consider identity and positionality in new ways. Riffing on rhetorics of the ocular vs the aural in discussions of identity, performance, and embodiment, here transcultural and transdisciplinary connections emerge to consider listening as a technology for relationality.
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Sobchack, Vivian. "When the Ear Dreams: Dolby Digital and the Imagination of Sound." Film Quarterly 58, no. 4 (2005): 2–15. http://dx.doi.org/10.1525/fq.2005.58.4.2.
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Abstract Nine Dolby theatrical ““trailers”” were made from the mid-1990s to 2003 specifically to visualize and promote the audio capabilities of digital sound. Drawing on Bachelard's The Poetics of Space and Chion's Audio-Vision, this essay explores the trailers' sound-driven imagery and suggests its implications for contemporary ““mainstream”” narrative cinema.