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Livros sobre o tema "Bee sounds"

Autor: Grafiati

Publicado: 22 de fevereiro de 2025

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1

Dijs, Carla. Bee says buzzzz. New York, N.Y: H. Holt, 1986.

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2

Korman, Justine. Bee movie. Des Moines, Iowa: Meredith Books, 2007.

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3

Dijs, Carla. Bee says buzz. (Swindon): Child's Play, 1986.

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4

ill, Giacobbe Beppe, ed. Clang-clang! Beep-beep!: Listen to the city. New York: Simon & Schuster Books for Young Readers, 2009.

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5

Whybrow, Ian. The noisy way to bed. New York: Arthur A. Levine Books, 2004.

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6

Whybrow, Ian. The noisy way to bed. London: Macmillan Children's, 2003.

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7

Sachs, Marilyn. At the sound of the beep. New York: Dutton Children's Books, 1990.

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8

Garcia, Emma. Toot toot beep beep. [London, England]: Boxer Books, 2013.

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9

ill, Wilson-Max Ken, ed. The baby goes beep. Brookfield, Conn: Roaring Brook Press, 2003.

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10

Mumford, Thomas F. Kelp and eelgrass in Puget Sound. [Seattle, Wash: Seattle District, U.S. Army Corps of Engineers, 2007.

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11

Mumford, Thomas F. Kelp and eelgrass in Puget Sound. [Seattle, Wash: Seattle District, U.S. Army Corps of Engineers, 2007.

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12

Long, Kathy. Christopher sat straight up in bed. Grand Rapids, MI: Eerdmans Books for Young Readers, 2012.

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13

O'Connell, Rebecca. The baby goes beep. Chicago, Ill: Albert Whitman, 2010.

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14

Koltnow, Emily. Congratulations! you've been fired: Sound advice for women who've been terminated, pink-slipped, downsized, or otherwise unemployed. New York: Fawcett Columbine, 1990.

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15

illustrator, Blecha Aaron, ed. Ten monsters in the bed. Dorking, Surrey: Templar, 2014.

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16

B to Bee! - Letter Sounds Matching Game. Baby Professor, 2017.

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17

Buzz Said the Bee. Scholastic, 2009.

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18

Lewison, Wendy Cheyette. Buzzzzzzz Said the Bee. Scholastic, 1999.

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19

Milne, A. A. Buzz Says the Bee: A Lift-The-flap Book about Sounds. Hardie Grant Egmont Pty, Limited, 2017.

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20

Rogge, Robie, e Rachel Isadora. After the Buzz Comes the Bee: Lift-The-Flap Animal Sounds. Holiday House, Incorporated, 2022.

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21

Lewison, Wendy Cheyette. Buzz Said the Bee (Hello Reader, Level 1) (Hello Reader). Cartwheel, 1992.

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22

Lewis, Liza, e Holly Harper. Essential Letters and Sounds : Essential Phonic Readers : Oxford Reading Level 3 : the Buzzing Bee: Oxford Reading Level 3 the Buzzing Bee. Oxford University Press, 2022.

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23

Diehl, David. Boom Boom, Beep Beep, Roar!: My Sounds Book. Lark Books, 2007.

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24

Bee Movie: Deluxe Sound Storybook (Bee Movie). Bee Movie, 2007.

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25

Bee Says Buzz (Whizzers). Child's Play International, 1992.

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26

Dobson, Jolie. Beep Beep Choo Choo. Firefly Books, Limited, 2014.

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27

Connor, Steven. Sounding Out Film. Editado por John Richardson, Claudia Gorbman e 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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28

Editions, Insight. I Go... Beep Beep (Sound Book). Insight Editions, 2020.

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29

Palmer, Melissa. Zack the Buzzy Bee: Targeting the Z Sound. Taylor & Francis Group, 2021.

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30

I See a Bee: Practicing the Ee Sound. Rosen Classroom, 2017.

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31

Palmer, Melissa. Zack the Buzzy Bee: Targeting the Z Sound. Taylor & Francis Group, 2021.

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32

Layden, Timothy B. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0022.

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For me every sound has its own shape or form. This sense of shape is like objects in my periphery. They move around me and change in size and structure depending on how the sounds change. The experience is more intense with more complex sounds and when the source of the sound is not visible. I wonder if it is my brain creating the visual for the sound. The shapes seem to reflect the sound: liquid sounds often create fluid bubbly shapes; sharp clanging sounds have more angular shapes like growing crystals; bass sounds are large and expanding. When there is a loud, seemingly singular sound, this can create a sense of space around me as if I were inside the shape itself. When many sounds occur at once, the shapes often combine, creating a complex structure or a texture. These shapes sometimes blend together, rather as sounds do in the environment, creating a moving landscape. These experiences are part of how I sense the world and rarely stand out as distractions. Sometimes, however, a sudden, unexpected sound will evoke a synaesthetic experience that is distracting, drawing my attention away from whatever I might be doing....

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33

Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Editado por 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

Soteriou, Matthew. Sound and Illusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198722304.003.0002.

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A variety of different proposals have been made about the nature of sounds. Although these proposals differ in a number of significant respects, some common assumptions appear to be made by their advocates: (1) the assumption that sounds possess audible, acoustic features, such as timbre, pitch, and loudness (and so the assumption that a sound is not a property that is identical to any one of those audible features); and (2) the assumption that sounds are one kind of thing. The second assumption is rarely defended in debates about sound and auditory perception. This chapter explores ways in which such debates are affected if the relevant assumption is rejected.

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35

Mom and Me, Sweet As Can Bee! Sound Book. Phoenix International Publications, Incorporated, 2019.

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36

Muu, beee, así fue! Nueva York: Simon & Schuster Libros Para Niños, 2003.

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37

Becoming the Sound of Bees. Ampersand Books, 2015.

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38

Schtroks, Mushka. Beep! Beep! Buzz... Buzz... Tap. Tap. Tap: The Sounds of Diabetes. Independently Published, 2022.

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39

Buzz-Buzz, Busy Bees: An Animal Sounds Book. Scholastic Canada, 2004.

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40

(Illustrator), Heather Cahoon, ed. Buzz-Buzz, Busy Bees: An Animal Sounds Book. Little Simon, 2004.

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41

Cardoso, Leonardo. Sound-Politics in São Paulo. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190660093.001.0001.

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This book is an ethnographic study of controversial sounds and noise control debates in Latin America’s most populous city. It discusses the politics of collective living by following several threads linking sound-making practices to governance issues. Rather than discussing sound within a self-enclosed “cultural” field, I examine it as a point of entry for analyzing the state. At the same time, rather than portraying the state as a self-enclosed “apparatus” with seemingly inexhaustible homogeneous power, I describe it as a collection of unstable (and often contradictory) sectors, personnel, strategies, discourses, documents, and agencies. My goal is to approach sound as an analytical category that allows us to access citizenship issues. As I show, environmental noise in São Paulo has been entangled in a wide range of debates, including public health, religious intolerance, crime control, urban planning, cultural rights, and economic growth. The book’s guiding question can be summarized as follows: how do sounds enter and leave the sphere of state control? I answer this question by examining a multifaceted process I define as “sound-politics.” The term refers to sounds as objects that are susceptible to state intervention through specific regulatory, disciplinary, and punishment mechanisms. Both “sound” and “politics” in “sound-politics” are nouns, with the hyphen serving as a bridge that expresses the instability that each concept inserts into the other.

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42

Sachs, Marilyn. At the sound of the beep. New York, 1990.

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43

Shaffer, Jody Jensen. Three Bees: The Sound of EE. The Child's World, Inc, 2020.

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44

Shaffer, Jody Jensen. Three Bees: The Sound of EE. The Child's World, Inc, 2020.

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45

At the Sound of the Beep. Puffin, 1991.

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46

Mattikow e Lipitz. At the Sound of the Beep. Great Amer Audio Co, 1986.

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47

At the Sound of the Beep. Great American Audio Corporation, 1998.

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48

At the Sound of the Beep. Puffin, 1991.

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49

Three Bees: The Sound of EE. The Child's World, Inc, 2020.

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50

Time for Bed (Play-A-Sound). Publications International, Ltd, 2001.

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