Representing Sound
eBook - PDF

Representing Sound

Notes on the Ontology of Recorded Musical Communications

  1. 114 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

Representing Sound

Notes on the Ontology of Recorded Musical Communications

Book details
Table of contents
Citations

About This Book

The first title in the Laurier Digital series.

Representing Sound elucidates the base technical ontology, the machine essence, of every recorded musical communication. In so doing, it suggests the broad contours of an unprecedented theoretical basis for considering recording practice that posits no fundamental relationship between it and live performance. Representing Sound thus complicates common conceptions of sound to include different ontological states. This seemingly simple notion–that the acoustic phenomena we encounter in concert are, by nature, different from those we encounter when we listen to records–should have profound consequences for the way everyone, from musicologists to rock stars, considers recording practice.

In the tradition of books like Marshall McLuhan's and Quentin Fiore's The Medium Is The Massage (1968), Representing Sound sets its text within more than one hundred original visual artworks, each designed to reinforce the essay's broader creative resonances. This allows readers to approach the larger ontological argument either atomistically (i.e., on a frame-by-frame basis) or holistically, depending on their creative or analytic needs. In this way, Representing Sound provides a possible model for creative scholarly work in the impending post-book era.

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Yes, you can access Representing Sound by Jay Hodgson, Steve MacLeod in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Music Theory & Appreciation. We have over one million books available in our catalogue for you to explore.

Information

Publisher
Wilfrid Laurier University Press
Year
2014
ISBN
9781554589692
Topic
Media & Performing Arts
Subtopic
Music Theory & Appreciation

Table of contents

  1. Cover
  2. Introduction
  3. 1. Sculptures
  4. 2. Acoustic Iconography
  5. 3. Psychoacoustic Profiles
  6. 4. Psychoacoustic Encoding
  7. 5. Audio Transduction
  8. 6. The Cybernetic
  9. 7. Conceptual Infrastructure
  10. 8. Interpellation
  11. 9. Conjuring Tricks
  12. 10. Tracking I: Performance as Programming
  13. 11. Tracking II: Programming as Performance
  14. 12. Tracking III: Lateral Dynamics Processing
  15. 13. Conclusion
  16. Acknowledgements: