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Books on the topic 'Sound events'

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Published: 20 July 2024

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1

Virtanen, Tuomas, Mark D. Plumbley, and Dan Ellis, eds. Computational Analysis of Sound Scenes and Events. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63450-0.

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2

McCarthy, Jim. Voices of Latin rock: People and events that created this sound. Milwaukee, WI: Hal Leonard Corporation, 2004.

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3

McCarthy, Jim. Voices of Latin rock: People and events that created this sound. Milwaukee, WI: Hal Leonard Corporation, 2005.

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4

Thomas, Jeremy. Taking leave. London: Timewell, 2006.

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5

Zealand, Radio New. Catalogue of Radio New Zealand recordings of Maori events, 1938-1950: RNZ 1-60. Auckland: Archive of Maori and Pacific Music, Anthropology Dept., University of Auckland, 1991.

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Corporation, British Broadcasting. Equestrian events. Princeton, N.J: Films for the Humanities & Sciences, 1991.

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7

Taylor, Fred. What, and Give Up Showbiz?: Six Decades in the Music Business. Blue Ridge Summit: Backbeat, 2020.

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8

Cai, Wenyi. Yi tian 10 fen zhong, ying zhan xin wen Ying wen: Yue du, ting li, yu hui neng li yi ci yang cheng! 8th ed. Taibei Shi: Kai xin qi ye guan li gu wen you xian gong si, 2015.

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9

Marchetta, Vittorio. Passaggi di sound design: Riflessioni, competenze, oggetti-eventi. Milano: F. Angeli, 2010.

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10

Basile, Giuseppe. ' 80, new sound, new wave: Vita, musica ed eventi nella provincia italiana degli anni '80. Taranto: Geophonìe, 2007.

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11

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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12

Council, Puget Sound Regional, ed. Puget Sound Regional Council, PSRC: Vision 2040 public review draft : August 1, 2007 public event and August open houses : summary report. [Seattle?: Puget Sound Regional Council, 2007.

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13

Pichon, Alexis Le, Blanc Elisabeth, and Alain Hauchecorne. Infrasound monitoring for atmospheric studies. Dordrecht: Springer, 2010.

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14

Turim, Maureen, and Michael Walsh. Sound Events. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0026.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter is a comprehensive survey of sound practices in avant-garde film, video art, and installation art since the 1960s. It addresses a series of artistic approaches to sound: silence, tone and drone, antic and aleatory, multilayering and cacophony, work with voices, legacies of cinematic exhibition, and resonant spaces in galleries and museums. It is broadly chronological, beginning with major figures of the 1960s and ending with artists currently working. The chapter does not deny medium specificity, but moves easily among celluloid film, video formats, and gallery installation. Theoretical perspectives derive from the debate between Deleuze and Badiou on the nature and frequency of “the event,” a restaging of the discussion on the value of experiment and innovation. The chapter is wide-ranging enough to be synoptic, but also provides detailed discussion of works by Larry Gottheim, Abigail Child, Andy Warhol, Christian Marclay, Janet Cardiff, and Bruce High Quality Foundation.

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15

Ellis, Dan, Mark D. Plumbley, and Tuomas Virtanen. Computational Analysis of Sound Scenes and Events. Springer, 2017.

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16

Ellis, Dan, Mark D. Plumbley, and Tuomas Virtanen. Computational Analysis of Sound Scenes and Events. Springer, 2018.

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17

The Vow [sound recording]: The true events that inspired the movie. Carol Stream, IL: Oasis Audio, 2012.

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18

Thomas, Sarah Loudin. Sound of Rain. Cengage Gale, 2018.

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19

McCarthy, Jim. Voices of Latin Rock: The People and Events That Created This Sound. Leonard Corporation, Hal, 2004.

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20

McCarthy, Jim. Voices of Latin Rock: The People and Events That Created This Sound. Leonard Corporation, Hal, 2004.

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21

Sansoe, Ron, and Jim McCarthy. Voices of Latin Rock : The People and Events That Shaped The Sound. Hal Leonard, 2004.

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22

McCarthy, Jim. Voices of Latin Rock: The People and Events That Created This Sound. Leonard Corporation, Hal, 2004.

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23

Thomas, Sarah Loudin. The sound of rain. 2017.

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24

Burton, Mary Lou, and Marion Clifton. Bravo Resource Guide for Planning Parties, Weddings, Meetings and Events: Greater Puget Sound, 1995. Bravo Pubns, 1994.

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25

Baxter, Dennis. Immersive Sound Production: A Practical Guide. Taylor & Francis Group, 2022.

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26

Baxter, Dennis. Immersive Sound Production: A Practical Guide. Taylor & Francis Group, 2022.

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27

Egan, Sean. Defining Moments in Music: The Greatest Artists, Albums, Songs, Performances and Events that Rocked the Music World. Cassell Illustrated, 2007.

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28

Zampaulo, André. Palatal Sound Change in the Romance Languages. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198807384.001.0001.

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This monograph presents a thorough investigation of the main historical and present-day variation and change patterns undergone by palatal sounds in the Romance languages. By relying on phonetic and phonological information to motivate a formal account of palatal sound change, the analyses proposed in this book offer a principled, constraint-based explanation for the evolution of palatals in the Romance-speaking world. It provides a robust and up-to-date literature review on the subject, taking into consideration not only the viewpoints and data from diachronic research, but also the results from various phonetic, phonological, dialectal, and comprehensive studies. By taking into account the role of phonetic information in the shaping of phonological patterns, this book approaches sound change from its inception during the speaker-listener interaction and formalizes it as the difference in constraint ranking between the grammar of the speaker and that of the listener-turned-speaker. This perspective is intended to model how and why similar change events may take place in different varieties and/or the same language across periods of time.

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29

Life on the Mississippi [sound recording]. Ashland, OR: Blackstone Audio, 2010.

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30

Nudds, Matthew. The Unitary Nature of Sounds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722304.003.0003.

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In this chapter I defend the claim, in response to the challenge raised by Soteriou in the previous chapter, that there is one kind of thing—a sound—that we hear whenever we hear something. The argument for this develops the idea that we should think of sounds as things that mediate our perception of things other than sounds. If successful, this argument would both show that we should reject a more catholic conception of the bearers of acoustic feature, and also raise a challenge to defenders of the view that sounds are events occurring to or involving their sources.

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31

Collinson, Jamie. Edge. Oneworld Publications, 2020.

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32

Collinson, Jamie. Edge. Oneworld Publications, 2019.

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33

Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.10.

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This chapter maps the territory of the contemporary audiovisual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. It presents films that bear witness to the avant-garde’s ongoing interest in the formal organization of sound/image relationships. If one of the main concerns of sound in conventional film is to “naturalize” the image, experimental film is interested instead in ananti-naturalistic use of sound. Films without sound or even without images (which still can be called “films”), the use of audiovisual polysemy, asynchronous, or even synchronous sound, as well as the visualization of code-based music, are all means of revealing the constructed nature of the cinesonic event. The chapter examines the realm of the sound of technology itself, pointing out the creative potential ofoptically synthesized soundsas well aslive generated sounds and images, which attest to the agility of current projection performances.

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34

Clifton, Marion. 2002 Bravo! Event Resource Guide: Greater Puget Sound (Bravo Event Resource Guide). Bravo! Publications (WA), 2002.

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35

Burton, Mary Lou, and Marion Clifton. Event Resource Guide: Greater Puget Sound Area, 1998. Bravo Publications, 1998.

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36

Clifton, Marion. Event Resource Guide: 1999 Greater Puget Sound Edition. Bravo Pubns, 1999.

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37

Hegarty, Paul. Grid Intensities. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0008.

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Chantal Akerman’s work of the 1970s is a sustained dissection of the connections and separations between sound and visual tracks within film. Indexicality comes under intense pressure, but is never dismissed, and the question of diegetic sound is permanently in play, as Akerman undermines easy distinctions between what is inside or beyond the accepted conventions of a film’s visual borders. This chapter argues that sound becomes a mode of structuring events and their perception, allowing a rigorous formalism to suggest not only meaning but also its fractalisation. Hearing underneath the visual and political strategies of Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and News from Home (1976) via Saute ma ville (1968), Je tu il elle (1974) and Les rendez-vous d’Anna (1978), we can sense a pulsing of meaning that expands the film event into intermediality.

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38

Shaikh, Mohd Faraz. Machine Learning in Detecting Auditory Sequences in Magnetoencephalography Data : Research Project in Computational Modelling and Simulation. Technische Universität Dresden, 2021. http://dx.doi.org/10.25368/2022.411.

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Does your brain replay your recent life experiences while you are resting? An open question in neuroscience is which events does our brain replay and is there any correlation between the replay and duration of the event? In this study I tried to investigate this question by using Magnetoencephalography data from an active listening experiment. Magnetoencephalography (MEG) is a non-invasive neuroimaging technique used to study the brain activity and understand brain dynamics in perception and cognitive tasks particularly in the fields of speech and hearing. It records the magnetic field generated in our brains to detect the brain activity. I build a machine learning pipeline which uses part of the experiment data to learn the sound patterns and then predicts the presence of sound in the later part of the recordings in which the participants were made to sit idle and no sound was fed. The aim of the study of test replay of learned sound sequences in the post listening period. I have used classification scheme to identify patterns if MEG responses to different sound sequences in the post task period. The study concluded that the sound sequences can be identified and distinguished above theoretical chance level and hence proved the validity of our classifier. Further, the classifier could predict the sound sequences in the post-listening period with very high probability but in order to validate the model results on post listening period, more evidence is needed.

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39

Clifton, Marion. 2005 Event Resource Guide: Puget Sound and Beyond Edition. 8th ed. B&E Resource, Inc., 2004.

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40

Clifton, Marion. 2003 Banquet & Event Resource Guide for Greater Puget Sound. Bravo Publications (OR), 2003.

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41

Clifton, Marion. Bravo! Event Resource Guide - 2001 Greater Puget Sound Edition. Not Avail, 2001.

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42

Hackett, Rosalind I. J. Sound. Edited by Michael Stausberg and Steven Engler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198729570.013.22.

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Sounding or listening practices are central to most forms of religious activity, and in some traditions particular spirits or deities, even the universe itself, may be associated with particular sounds. The chapter explores the significance and potential of a sound-based approach to the study of religion using the themes of voice, ritual instruments, and spatiality. Such an approach is timely given the growing attention to the phenomenon of sound, noise, and silence in a range of academic disciplines from ethnomusicology to ecology, and physics to phenomenology. A more sonically aware religious studies provides new analytical insights into forms of religious mediation, expression, and communication, notably in those cultures that do not privilege visuality. Moreover, new forms of technological mediation that have transformed the capacity to amplify, record, transmit, modify, and repurpose religiously or spiritually significant sounds call for our scholarly attention.

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43

Connor, Steven. Sounding Out Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.027.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film sound has been recruited to theà voir, the ‘to-be-seen’in an appropriation of the audible into the visible. This chapter attempts to characterize the principles of excess represented by sound and to account for sound’s seeming unaccountability of in cinema. Vision fixes, but sound expands and dissolves. It is not natural to identify “points of audition” the same way that we naturally identify point of view. Where cinematic seeing is reflexive, cinema sound lacks this quality, because sound always seems added to film, suggesting that even the talking cinema remains deaf to its sounds. Vision is always framed and contained; film sound is not. Cinema sound is always bodily, but the body is always diffuse and intermittent. Cinematic vision is an order of correlation; sound implies the mutative commixture of substances. Sound is the warrant of cinema’s capacity to come to life, bringing to life anhors-corps, the body of a body-beyond-cinema.

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44

Burton, Mary Lou, and Marion Clifton. Bridal, Event and Party Resource Guide: Greater Puget Sound Area, 1993. Bravo Pubns, 1992.

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45

Buhler, James. Early Theories of the Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0002.

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Chapter 2 examines several major theories that emerged during the transition to sound film, when even the definition of the sound film was contested. The theories of sound film that arose during the transitional decade from 1926 to 1935 focused on the closely related forms of recorded theater and silent film and worked to articulate how sound film differed from them. They also gave considerable attention to asynchronous sound in part because it was a figure specific to sound film (or in any event more difficult to produce in other art forms) and in part because asynchronous sound had affinities with montage. The chapter focuses on five important theorists who wrote prolifically during the transition years: Sergei Eisenstein, Vsevolod Pudovkin, Béla Balázs, Rudolf Arnheim, and Harry Potamkin.

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46

Priest, Eldritch. Earworm and Event. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022596.

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In Earworm and Event Eldritch Priest questions the nature of the imagination in contemporary culture through the phenomenon of the earworm: those reveries that hijack our attention, the shivers that run down our spines, and the songs that stick in our heads. Through a series of meditations on music, animal mentality, abstraction, and metaphor, Priest uses the earworm and the states of daydreaming, mind-wandering, and delusion it can produce to outline how music is something that is felt as thought rather than listened to. Priest presents Earworm and Event as a tête-bêche—two books bound together with each end meeting in the middle. Where Earworm theorizes the entanglement of thought and feeling, Event performs it. Throughout, Priest conceptualizes the earworm as an event that offers insight into not only the way human brains process musical experiences, but how abstractions and the imagination play key roles in the composition and expression of our contemporary social environments and more-than-human milieus. Unconventional and ambitious, Earworm and Event offers new ways to interrogate the convergence of thought, sound, and affect.

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47

Olsen, Dale A. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037887.003.0015.

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This chapter summarizes the points of the book and synthesizes many of the attitudes, concepts, and events seen in flutelore. It addresses the question: What is singularly distinct or unique about flutes, flute playing, and flute players in a world context? The first and perhaps foremost reason why flutes are powerful is the direct use of the musician's breath to produce a sound, and breath is the source of life itself, as told to us by many storytellers from many cultures across time. The second reason why flutes are powerful is that whistle sounds are aural characteristics or phenomena not found in normal human speech, song, or chant discourses. The third reason why flutes have power is the pleasing quality of the “beautiful” melodies produced on them. A fourth reason why flutes have power is that they seem to provide a simple but important mythological bond among people, animals, and spirits throughout the world.

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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

Morton, David. Sound Recording. Greenwood, 2004. http://dx.doi.org/10.5040/9798216016700.

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How did one of the great inventions of the 19th century— Thomas Edison's phonograph— eventually lead to one of the most culturally and economically significant technologies of the 20th and 21st centuries?Sound Recordingtells that story, tracing the history of the business boom and the cultural revolution begun by Edison's invention. Ever since, recorded sound has been all around us—not just in reproducing and playing popular music, but also in more mundane areas, such as office dictation machines, radio and television programs, and even telephone answering machines. Just as the styles of music have evolved over the years, the formats on which this music was played have changed as well —from 78s to LPs, from LPs to cassette tapes, from cassettes to CDs—not to mention lesser-known innovations in the motion picture and television industries. The quest for better sound was one of the drivers of technological change, but so too were business strategies, patent battles, and a host of other factors. Sound Recordingcontains much information that will interest anyone interested in the history of recorded music and sound technology, such as: • The world-famous composer John Phillip Sousa once denounced sound recordings as a threat to good musical tasted. He nonetheless made many recordings over the years • Two innovative new products were introduced by RCA in 1958—the first modern cassette tape cartridge and the stereophonic LP record. The tape cartridge, which was about the size of a large paperback, flopped almost immediately; the stereo LP was the music industry's biggest hit ever • Chrysler automobiles of the late 1950s offered Highway Hi-Fi, a dashboard phonograph that could play a record without skipping • The predecessor of the Compact Disc was a 12-inch home videodisc system from the late 1970s—the first of its kind—called DiscoVision The volume includes a timeline and a bibliography for those interested in delving further into the history of recorded sound.

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50

Boutin, Aimée. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0007.

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This concluding chapter summarizes key themes and presents some final thoughts. It argues that the collective experience of sounds is what gives aurality meaning, even though there is an element of idiosyncrasy in sound perception. The street cries of peddlers and hawkers were meaningful sounds that resonated as a shared cultural experience in the nineteenth century, even for those who rarely heard them, or chose not to write about them. In the twenty-first century, peddlers still operate and vocalize in locations as diverse as New York City, Mexico City, Dakar, Port-au-Prince, Calcutta, Sidi Bouzid, and even Paris. Modern forms of peddling are alive and well, and the intrusiveness of street trade remains a point of contention in today's noise-conscious society.

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