Representing sound :: notes on the ontology of recorded musical communications /
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 pe...
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Waterloo, Ontario :
Wilfrid Laurier University Press,
[2014]
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | 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. |
| Beschreibung: | 1 online resource (various pagings) : color illustrations |
| Bibliographie: | Includes bibliographical references. |
| ISBN: | 1554589703 9781554589708 |
Internformat
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| 245 | 1 | 0 | |a Representing sound : |b notes on the ontology of recorded musical communications / |c Jay Hodgson with Steve MacLeod. |
| 246 | 3 | 0 | |a Notes on the ontology of recorded musical communications |
| 264 | 1 | |a Waterloo, Ontario : |b Wilfrid Laurier University Press, |c [2014] | |
| 264 | 2 | |a Ottawa, Ontario : |b Canadian Electronic Library, |c 2016. | |
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| 505 | 0 | |a Introduction -- 1. Sculptures -- 2. Acoustic Iconography -- 3. Psychoacoustic Profiles -- 4. Psychoacoustic Encoding -- 5. Transduction -- 6. The Cybernetic -- 7. Conceptual Infrastructure -- 8. Interpellation: Conjuring Tricks -- 9. Tracking, i) Performance as Programming -- 10. Tracking, ii) Programming as Performance -- 11. Tracking, iii) Lateral Dynamics Processing -- 12. A Brief Conclusion. | |
| 520 | |a 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. | ||
| 650 | 0 | |a Sound |x Recording and reproducing |x Psychological aspects. | |
| 650 | 0 | |a Music |x Philosophy and aesthetics. |0 http://id.loc.gov/authorities/subjects/sh85088808 | |
| 650 | 6 | |a Son |x Enregistrement et reproduction |x Aspect psychologique. | |
| 650 | 6 | |a Musique |x Philosophie et esthétique. | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 7 | |a Music |x Philosophy and aesthetics |2 fast | |
| 700 | 1 | |a MacLeod, Steve, |e author. | |
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| author | Hodgson, Jay MacLeod, Steve |
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| contents | Introduction -- 1. Sculptures -- 2. Acoustic Iconography -- 3. Psychoacoustic Profiles -- 4. Psychoacoustic Encoding -- 5. Transduction -- 6. The Cybernetic -- 7. Conceptual Infrastructure -- 8. Interpellation: Conjuring Tricks -- 9. Tracking, i) Performance as Programming -- 10. Tracking, ii) Programming as Performance -- 11. Tracking, iii) Lateral Dynamics Processing -- 12. A Brief Conclusion. |
| ctrlnum | (OCoLC)964337106 |
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| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.4901 |
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| id | ZDB-4-EBA-ocn964337106 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:27:32Z |
| institution | BVB |
| isbn | 1554589703 9781554589708 |
| language | English |
| oclc_num | 964337106 |
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| publishDate | 2014 |
| publishDateSearch | 2016 |
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| publisher | Wilfrid Laurier University Press, |
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| spelling | Hodgson, Jay, author. Representing sound : notes on the ontology of recorded musical communications / Jay Hodgson with Steve MacLeod. Notes on the ontology of recorded musical communications Waterloo, Ontario : Wilfrid Laurier University Press, [2014] Ottawa, Ontario : Canadian Electronic Library, 2016. 1 online resource (various pagings) : color illustrations text txt rdacontent electronic isbdmedia online resource cr rdacarrier Includes bibliographical references. Introduction -- 1. Sculptures -- 2. Acoustic Iconography -- 3. Psychoacoustic Profiles -- 4. Psychoacoustic Encoding -- 5. Transduction -- 6. The Cybernetic -- 7. Conceptual Infrastructure -- 8. Interpellation: Conjuring Tricks -- 9. Tracking, i) Performance as Programming -- 10. Tracking, ii) Programming as Performance -- 11. Tracking, iii) Lateral Dynamics Processing -- 12. A Brief Conclusion. 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. Sound Recording and reproducing Psychological aspects. Music Philosophy and aesthetics. http://id.loc.gov/authorities/subjects/sh85088808 Son Enregistrement et reproduction Aspect psychologique. Musique Philosophie et esthétique. MUSIC Instruction & Study Theory. bisacsh Music Philosophy and aesthetics fast MacLeod, Steve, author. Print version: 155458969X 9781554589692 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1433327 Volltext |
| spellingShingle | Hodgson, Jay MacLeod, Steve Representing sound : notes on the ontology of recorded musical communications / Introduction -- 1. Sculptures -- 2. Acoustic Iconography -- 3. Psychoacoustic Profiles -- 4. Psychoacoustic Encoding -- 5. Transduction -- 6. The Cybernetic -- 7. Conceptual Infrastructure -- 8. Interpellation: Conjuring Tricks -- 9. Tracking, i) Performance as Programming -- 10. Tracking, ii) Programming as Performance -- 11. Tracking, iii) Lateral Dynamics Processing -- 12. A Brief Conclusion. Sound Recording and reproducing Psychological aspects. Music Philosophy and aesthetics. http://id.loc.gov/authorities/subjects/sh85088808 Son Enregistrement et reproduction Aspect psychologique. Musique Philosophie et esthétique. MUSIC Instruction & Study Theory. bisacsh Music Philosophy and aesthetics fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85088808 |
| title | Representing sound : notes on the ontology of recorded musical communications / |
| title_alt | Notes on the ontology of recorded musical communications |
| title_auth | Representing sound : notes on the ontology of recorded musical communications / |
| title_exact_search | Representing sound : notes on the ontology of recorded musical communications / |
| title_full | Representing sound : notes on the ontology of recorded musical communications / Jay Hodgson with Steve MacLeod. |
| title_fullStr | Representing sound : notes on the ontology of recorded musical communications / Jay Hodgson with Steve MacLeod. |
| title_full_unstemmed | Representing sound : notes on the ontology of recorded musical communications / Jay Hodgson with Steve MacLeod. |
| title_short | Representing sound : |
| title_sort | representing sound notes on the ontology of recorded musical communications |
| title_sub | notes on the ontology of recorded musical communications / |
| topic | Sound Recording and reproducing Psychological aspects. Music Philosophy and aesthetics. http://id.loc.gov/authorities/subjects/sh85088808 Son Enregistrement et reproduction Aspect psychologique. Musique Philosophie et esthétique. MUSIC Instruction & Study Theory. bisacsh Music Philosophy and aesthetics fast |
| topic_facet | Sound Recording and reproducing Psychological aspects. Music Philosophy and aesthetics. Son Enregistrement et reproduction Aspect psychologique. Musique Philosophie et esthétique. MUSIC Instruction & Study Theory. Music Philosophy and aesthetics |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1433327 |
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