SONIC PHANTOMS: composition with auditory phantasmatic presence;composition with auditory phantasmatic presence.
"In this book, Barbara Ellison and Thomas B.W. Bailey lay out and explore the mystifying and evanescent musical territory of 'sonic phantoms': auditory illusions within the musical material that convey a 'phantasmatic' presence. Structured around a large body of compositiona...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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2020.
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| Online-Zugang: | Volltext |
| Zusammenfassung: | "In this book, Barbara Ellison and Thomas B.W. Bailey lay out and explore the mystifying and evanescent musical territory of 'sonic phantoms': auditory illusions within the musical material that convey a 'phantasmatic' presence. Structured around a large body of compositional work developed by Ellison over the past decade, sonic phantoms are revealed and illustrated as they arise through a diverse array of musical sources, materials, techniques, and compositional tools: voices (real and synthetic), field recordings, instrument manipulation, object amplification, improvisation, and recording studio techniques. Somehow inherent in all music - and perhaps in all sound - sonic phantoms lurk and stalk with the promise of mystery and elevation. We just need to conjure them."-- |
| Beschreibung: | 1 online resource |
| ISBN: | 1501347047 9781501347047 |
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| 245 | 1 | 0 | |a SONIC PHANTOMS |h [electronic resource] : |b composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| 260 | |a [S.l.] : |b BLOOMSBURY ACADEMIC & PRO, |c 2020. | ||
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| 505 | 0 | |a Cover -- Contents -- List of Figures -- Preface -- Author's Note -- Acknowledgments -- 1 Phantasmagenics -- 1.1 Sonic Phantoms as Emergent Presence -- 1.2 Presence by Apophenia -- 1.3 Apophenia and Creativity -- 1.4 Creativity with Ambiguity -- 1.5 Ambiguity as Intentional Practice -- 2 Inducing the Phantasmatic -- 2.1 Compositional Phantasmatic Strategies and Techniques -- 2.1.1 Repetition -- 2.1.2 Persistence -- 2.1.3 Layering -- 2.1.4 Noise -- 2.1.5 Accentuation -- 2.2 Realms of Sonic Phantasmatic Experience | |
| 505 | 8 | |a 3 Phantasma Instrumentalis: The Realm of the Instrument Compositional Series: Harp Phantoms -- 3.1 Sonic Exploration of the Instrument -- 3.2 Instrument Preparation and Sonic Blotscapes -- 3.3 Ritualization in Performance -- 3.4 Structure and Possible Variations -- 3.5 Inherent Patterns -- 3.6 Auditory Streaming -- 3.7 Sonic Figure and Ground -- 3.8 Listening Modes and Perceptual Competition -- 3.9 Accentuation of Harp Sonic Phantoms -- 3.10 A Second Life of Harp Phantoms in the Studio -- 4 Phantasma Materialis: The Realm of the Object Compositional Series: Drawing Phantoms | |
| 505 | 8 | |a 4.1 Initial Material Explorations (for a Literal 'Phono-Graphic' Performance) -- 4.2 The Drawing Room -- 4.3 Transcendent 'Boundary Loss' -- 4.4 Automatic Drawing-Ghosts and Dissociation -- 4.5 Drawing Phantoms Performance -- 4.6 Expanding by Narrowing-Everyday and Induced Trance -- 4.7 Loop Multiplicity -- 4.8 Drawing Phantoms Séance -- 4.9 'EVP' and 'OVP' -- 5 Phantasma Humana: The Realm of the Voice Compositional Series: Vocal Phantoms -- 5.1 Katajjaq -- 5.2 Vocal Phantoms #18 (for Live Voices) -- 5.3 Ancient and Recent Vocal Techniques of Illusion | |
| 505 | 8 | |a 5.4 CyberSongs-Text-to-Speech-to-Song Pieces -- 5.5 Micro-Temporal Mechanisms -- 5.6 Semantic Satiation and Semantization -- 6 Phantasma Naturalis: The Realm of Nature Compositional Series: Natural Phantoms -- 6.1 Listening and Recording -- 6.2 Natural Polyphony -- 6.2.1 Layering -- 6.2.2 Interlocking -- 6.2.3 Transitions -- 6.3 Natural Phantoms -- 6.4 Beyond Composition -- 7 Coda Otoacoustic Emissions: The Phantom Within -- Bibliography -- Index | |
| 520 | |a "In this book, Barbara Ellison and Thomas B.W. Bailey lay out and explore the mystifying and evanescent musical territory of 'sonic phantoms': auditory illusions within the musical material that convey a 'phantasmatic' presence. Structured around a large body of compositional work developed by Ellison over the past decade, sonic phantoms are revealed and illustrated as they arise through a diverse array of musical sources, materials, techniques, and compositional tools: voices (real and synthetic), field recordings, instrument manipulation, object amplification, improvisation, and recording studio techniques. Somehow inherent in all music - and perhaps in all sound - sonic phantoms lurk and stalk with the promise of mystery and elevation. We just need to conjure them."-- |c Provided by publisher. | ||
| 650 | 0 | |a Instrumental music |x Psychological aspects. | |
| 650 | 0 | |a Auditory perception. |0 http://id.loc.gov/authorities/subjects/sh85009496 | |
| 650 | 2 | |a Auditory Perception |0 https://id.nlm.nih.gov/mesh/D001307 | |
| 650 | 6 | |a Musique instrumentale |x Aspect psychologique. | |
| 650 | 6 | |a Perception auditive. | |
| 650 | 7 | |a Music recording & reproduction. |2 bicssc | |
| 650 | 7 | |a Auditory perception |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Ellison, Barbara. |t Sonic Phantoms : Composition with Auditory Phantasmatic Presence. |d New York : Bloomsbury Academic & Professional, ©2020 |
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| author | ELLISON, BARBARA;BAILEY, THOMAS BEY WILLIAM |
| author_facet | ELLISON, BARBARA;BAILEY, THOMAS BEY WILLIAM |
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| contents | Cover -- Contents -- List of Figures -- Preface -- Author's Note -- Acknowledgments -- 1 Phantasmagenics -- 1.1 Sonic Phantoms as Emergent Presence -- 1.2 Presence by Apophenia -- 1.3 Apophenia and Creativity -- 1.4 Creativity with Ambiguity -- 1.5 Ambiguity as Intentional Practice -- 2 Inducing the Phantasmatic -- 2.1 Compositional Phantasmatic Strategies and Techniques -- 2.1.1 Repetition -- 2.1.2 Persistence -- 2.1.3 Layering -- 2.1.4 Noise -- 2.1.5 Accentuation -- 2.2 Realms of Sonic Phantasmatic Experience 3 Phantasma Instrumentalis: The Realm of the Instrument Compositional Series: Harp Phantoms -- 3.1 Sonic Exploration of the Instrument -- 3.2 Instrument Preparation and Sonic Blotscapes -- 3.3 Ritualization in Performance -- 3.4 Structure and Possible Variations -- 3.5 Inherent Patterns -- 3.6 Auditory Streaming -- 3.7 Sonic Figure and Ground -- 3.8 Listening Modes and Perceptual Competition -- 3.9 Accentuation of Harp Sonic Phantoms -- 3.10 A Second Life of Harp Phantoms in the Studio -- 4 Phantasma Materialis: The Realm of the Object Compositional Series: Drawing Phantoms 4.1 Initial Material Explorations (for a Literal 'Phono-Graphic' Performance) -- 4.2 The Drawing Room -- 4.3 Transcendent 'Boundary Loss' -- 4.4 Automatic Drawing-Ghosts and Dissociation -- 4.5 Drawing Phantoms Performance -- 4.6 Expanding by Narrowing-Everyday and Induced Trance -- 4.7 Loop Multiplicity -- 4.8 Drawing Phantoms Séance -- 4.9 'EVP' and 'OVP' -- 5 Phantasma Humana: The Realm of the Voice Compositional Series: Vocal Phantoms -- 5.1 Katajjaq -- 5.2 Vocal Phantoms #18 (for Live Voices) -- 5.3 Ancient and Recent Vocal Techniques of Illusion 5.4 CyberSongs-Text-to-Speech-to-Song Pieces -- 5.5 Micro-Temporal Mechanisms -- 5.6 Semantic Satiation and Semantization -- 6 Phantasma Naturalis: The Realm of Nature Compositional Series: Natural Phantoms -- 6.1 Listening and Recording -- 6.2 Natural Polyphony -- 6.2.1 Layering -- 6.2.2 Interlocking -- 6.2.3 Transitions -- 6.3 Natural Phantoms -- 6.4 Beyond Composition -- 7 Coda Otoacoustic Emissions: The Phantom Within -- Bibliography -- Index |
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| id | ZDB-4-EBA-on1154520024 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:29:53Z |
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| record_format | marc |
| spelling | ELLISON, BARBARA;BAILEY, THOMAS BEY WILLIAM. SONIC PHANTOMS [electronic resource] : composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. [S.l.] : BLOOMSBURY ACADEMIC & PRO, 2020. 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier Cover -- Contents -- List of Figures -- Preface -- Author's Note -- Acknowledgments -- 1 Phantasmagenics -- 1.1 Sonic Phantoms as Emergent Presence -- 1.2 Presence by Apophenia -- 1.3 Apophenia and Creativity -- 1.4 Creativity with Ambiguity -- 1.5 Ambiguity as Intentional Practice -- 2 Inducing the Phantasmatic -- 2.1 Compositional Phantasmatic Strategies and Techniques -- 2.1.1 Repetition -- 2.1.2 Persistence -- 2.1.3 Layering -- 2.1.4 Noise -- 2.1.5 Accentuation -- 2.2 Realms of Sonic Phantasmatic Experience 3 Phantasma Instrumentalis: The Realm of the Instrument Compositional Series: Harp Phantoms -- 3.1 Sonic Exploration of the Instrument -- 3.2 Instrument Preparation and Sonic Blotscapes -- 3.3 Ritualization in Performance -- 3.4 Structure and Possible Variations -- 3.5 Inherent Patterns -- 3.6 Auditory Streaming -- 3.7 Sonic Figure and Ground -- 3.8 Listening Modes and Perceptual Competition -- 3.9 Accentuation of Harp Sonic Phantoms -- 3.10 A Second Life of Harp Phantoms in the Studio -- 4 Phantasma Materialis: The Realm of the Object Compositional Series: Drawing Phantoms 4.1 Initial Material Explorations (for a Literal 'Phono-Graphic' Performance) -- 4.2 The Drawing Room -- 4.3 Transcendent 'Boundary Loss' -- 4.4 Automatic Drawing-Ghosts and Dissociation -- 4.5 Drawing Phantoms Performance -- 4.6 Expanding by Narrowing-Everyday and Induced Trance -- 4.7 Loop Multiplicity -- 4.8 Drawing Phantoms Séance -- 4.9 'EVP' and 'OVP' -- 5 Phantasma Humana: The Realm of the Voice Compositional Series: Vocal Phantoms -- 5.1 Katajjaq -- 5.2 Vocal Phantoms #18 (for Live Voices) -- 5.3 Ancient and Recent Vocal Techniques of Illusion 5.4 CyberSongs-Text-to-Speech-to-Song Pieces -- 5.5 Micro-Temporal Mechanisms -- 5.6 Semantic Satiation and Semantization -- 6 Phantasma Naturalis: The Realm of Nature Compositional Series: Natural Phantoms -- 6.1 Listening and Recording -- 6.2 Natural Polyphony -- 6.2.1 Layering -- 6.2.2 Interlocking -- 6.2.3 Transitions -- 6.3 Natural Phantoms -- 6.4 Beyond Composition -- 7 Coda Otoacoustic Emissions: The Phantom Within -- Bibliography -- Index "In this book, Barbara Ellison and Thomas B.W. Bailey lay out and explore the mystifying and evanescent musical territory of 'sonic phantoms': auditory illusions within the musical material that convey a 'phantasmatic' presence. Structured around a large body of compositional work developed by Ellison over the past decade, sonic phantoms are revealed and illustrated as they arise through a diverse array of musical sources, materials, techniques, and compositional tools: voices (real and synthetic), field recordings, instrument manipulation, object amplification, improvisation, and recording studio techniques. Somehow inherent in all music - and perhaps in all sound - sonic phantoms lurk and stalk with the promise of mystery and elevation. We just need to conjure them."-- Provided by publisher. Instrumental music Psychological aspects. Auditory perception. http://id.loc.gov/authorities/subjects/sh85009496 Auditory Perception https://id.nlm.nih.gov/mesh/D001307 Musique instrumentale Aspect psychologique. Perception auditive. Music recording & reproduction. bicssc Auditory perception fast Print version: Ellison, Barbara. Sonic Phantoms : Composition with Auditory Phantasmatic Presence. New York : Bloomsbury Academic & Professional, ©2020 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2431178 Volltext |
| spellingShingle | ELLISON, BARBARA;BAILEY, THOMAS BEY WILLIAM SONIC PHANTOMS composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. Cover -- Contents -- List of Figures -- Preface -- Author's Note -- Acknowledgments -- 1 Phantasmagenics -- 1.1 Sonic Phantoms as Emergent Presence -- 1.2 Presence by Apophenia -- 1.3 Apophenia and Creativity -- 1.4 Creativity with Ambiguity -- 1.5 Ambiguity as Intentional Practice -- 2 Inducing the Phantasmatic -- 2.1 Compositional Phantasmatic Strategies and Techniques -- 2.1.1 Repetition -- 2.1.2 Persistence -- 2.1.3 Layering -- 2.1.4 Noise -- 2.1.5 Accentuation -- 2.2 Realms of Sonic Phantasmatic Experience 3 Phantasma Instrumentalis: The Realm of the Instrument Compositional Series: Harp Phantoms -- 3.1 Sonic Exploration of the Instrument -- 3.2 Instrument Preparation and Sonic Blotscapes -- 3.3 Ritualization in Performance -- 3.4 Structure and Possible Variations -- 3.5 Inherent Patterns -- 3.6 Auditory Streaming -- 3.7 Sonic Figure and Ground -- 3.8 Listening Modes and Perceptual Competition -- 3.9 Accentuation of Harp Sonic Phantoms -- 3.10 A Second Life of Harp Phantoms in the Studio -- 4 Phantasma Materialis: The Realm of the Object Compositional Series: Drawing Phantoms 4.1 Initial Material Explorations (for a Literal 'Phono-Graphic' Performance) -- 4.2 The Drawing Room -- 4.3 Transcendent 'Boundary Loss' -- 4.4 Automatic Drawing-Ghosts and Dissociation -- 4.5 Drawing Phantoms Performance -- 4.6 Expanding by Narrowing-Everyday and Induced Trance -- 4.7 Loop Multiplicity -- 4.8 Drawing Phantoms Séance -- 4.9 'EVP' and 'OVP' -- 5 Phantasma Humana: The Realm of the Voice Compositional Series: Vocal Phantoms -- 5.1 Katajjaq -- 5.2 Vocal Phantoms #18 (for Live Voices) -- 5.3 Ancient and Recent Vocal Techniques of Illusion 5.4 CyberSongs-Text-to-Speech-to-Song Pieces -- 5.5 Micro-Temporal Mechanisms -- 5.6 Semantic Satiation and Semantization -- 6 Phantasma Naturalis: The Realm of Nature Compositional Series: Natural Phantoms -- 6.1 Listening and Recording -- 6.2 Natural Polyphony -- 6.2.1 Layering -- 6.2.2 Interlocking -- 6.2.3 Transitions -- 6.3 Natural Phantoms -- 6.4 Beyond Composition -- 7 Coda Otoacoustic Emissions: The Phantom Within -- Bibliography -- Index Instrumental music Psychological aspects. Auditory perception. http://id.loc.gov/authorities/subjects/sh85009496 Auditory Perception https://id.nlm.nih.gov/mesh/D001307 Musique instrumentale Aspect psychologique. Perception auditive. Music recording & reproduction. bicssc Auditory perception fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85009496 https://id.nlm.nih.gov/mesh/D001307 |
| title | SONIC PHANTOMS composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| title_auth | SONIC PHANTOMS composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| title_exact_search | SONIC PHANTOMS composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| title_full | SONIC PHANTOMS [electronic resource] : composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| title_fullStr | SONIC PHANTOMS [electronic resource] : composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| title_full_unstemmed | SONIC PHANTOMS [electronic resource] : composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| title_short | SONIC PHANTOMS |
| title_sort | sonic phantoms composition with auditory phantasmatic presence composition with auditory phantasmatic presence |
| title_sub | composition with auditory phantasmatic presence;composition with auditory phantasmatic presence. |
| topic | Instrumental music Psychological aspects. Auditory perception. http://id.loc.gov/authorities/subjects/sh85009496 Auditory Perception https://id.nlm.nih.gov/mesh/D001307 Musique instrumentale Aspect psychologique. Perception auditive. Music recording & reproduction. bicssc Auditory perception fast |
| topic_facet | Instrumental music Psychological aspects. Auditory perception. Auditory Perception Musique instrumentale Aspect psychologique. Perception auditive. Music recording & reproduction. Auditory perception |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2431178 |
| work_keys_str_mv | AT ellisonbarbarabaileythomasbeywilliam sonicphantomscompositionwithauditoryphantasmaticpresencecompositionwithauditoryphantasmaticpresence |