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Books on the topic 'Musical design'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Introduction to musical design. Dubuque, IA: W.C. Brown, 1992.

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2

Musical design in Sophoclean theater. Hanover: Dartmouth College, 1996.

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3

Bulleid, H. A. V. Cylinder musical box design and repair. Binghamton, N.Y: Almar Press, 1987.

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4

Toy instruments: Design, nostalgia, music. New York: Mark Batty, 2010.

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5

Lawson, Walter A. French horn mouthpieces: Material and design. [Boonsboro, Md.]: Lawson Brass Instruments, 1990.

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6

Butler, Mark J. Unlocking the groove: Rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, 2005.

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7

Taylor, Clifford. Musical idea and the design aesthetic in contemporary music: A text for discerning appraisal of musical thought in western culture. Lewiston, NY: Edwin Mellen Press, 1990.

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8

Hopkin, Bart. Air columns and toneholes: Principles for wind instrument design. Willits, CA: Tai Hei Shakuhachi, 1999.

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9

Robinson, Larry. The art of inlay: Contemporary design & technique for musical instruments, fine woodworking & objets d'art. San Francisco: Miller Freeman Books, 1994.

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10

Robinson, Larry. The art of inlay: Contemporary design & technique for musical instruments, fine woodworking & objets d'art. San Francisco: Miller Freeman Books, 1999.

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11

Nield, R. T. Musical instrument modelling & simulation: Design of a GUI to a software audio frequency synthesiser. Manchester: University of Manchester, Department of Computer Science, 1996.

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12

Knapp, Gottfried. Ein Theater für den König: Josephine Barbarinos Musical Theater Neuschwanstein. Regensburg: Schnell + Steiner, 2001.

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13

Power tools for synthesizer programming: The ultimate reference for sound design. Milwaukee, WI: Hal Leonard Books, 2015.

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14

The most important clock in America: The David Rittenhouse astronomical musical clock at Drexel University. Philadelphia: American Philosophical Society, 2009.

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15

Adams, Brian Alexander. The design of a device for the analysis of problems with musical instrument digital interfaces (MIDI). [S.l: The Author], 1993.

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16

Sugiura, Kōhei. Uchū o tataku: Kaen-daiko, mandara, Ajia no hibiki : banbutsu shōō gekijō. Tōkyō: Kōsakusha, 2004.

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17

Black by design: A 2-tone memoir. London: Serpent's Tail, 2012.

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18

Black by design: A 2-Tone memoir. London: Serpent's Tail, 2011.

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19

Guitarmaking, tradition and technology: A complete reference for the design & construction of the steel-string folk guitar & the classical guitar. San Francisco: Chronicle Books, 1993.

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20

Cumpiano, William R. Guitarmaking, tradition and technology: A complete reference for the design and construction of the steel-string folk guitar and the classical guitar. Hadley, MA: Rosewood Pr., 1987.

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21

Cumpiano, William R. Guitarmaking, tradition and technology: A complete reference for the design and construction of the steel-string folk guitar and the classical guitar. Amherst, Mass: Rosewood Press, 1987.

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22

James, LeBrecht, ed. Sound and music for the theatre: The art & technique of design. 3rd ed. Burlington, MA: Elsevier, 2009.

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23

Kaye, Deena. Sound and music for the theatre: [the art and technique of design]. New York: Back Stage Books, 1992.

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24

Kaye, Deena. Sound and music for the theatre: The art and technique of design. 2nd ed. Boston: Focal Press, 2000.

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25

Cooil, John. Investigation and comparision of object oriented and traditional analysis and design methodogies in relation to development of a musical software package. London: University ofEast London, 1992.

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26

Connections: The geometric bridge between art and science. New York: McGraw-Hill Pub. Co., 1991.

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27

Kappraff, Jay. Connections: The geometric bridge between art and science. New York: McGraw-Hill Pub. Co., 1990.

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28

Connections: The geometric bridge between art and science. 2nd ed. Singapore: World Scientific, 2001.

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29

Cooil, John A. An i nvestigation and comparison of object oriented and traditional analysis and design methodologies in relation to development of a musical software package. London: University of East London, 1992.

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30

Handmade electronic music: The art of hardware hacking. 2nd ed. New York: Routledge, 2009.

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31

Handmade Electronic Music: The Art of Hardware Hacking. New York: Routledge, 2006.

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32

Handmade Electronic Music. London: Taylor and Francis, 2006.

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33

Pink Floyd: The black Strat : a history of David Gilmour's black Fender Stratocaster. 2nd ed. Milwaukee, Wis: Hal Leonard Books, 2008.

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34

Zoë, Alexander, ed. Destiny's style. New York: Regan Books, 2002.

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35

Jon, Scoville, ed. Sound designs: A handbook of musical instrument building. Berkeley, Calif: Ten Speed Press, 1995.

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36

Gluck, R. J. Musical Instrument Cases Design and Construction. Cactus Pub, 1997.

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37

Rumery, Kenneth R. Introduction To Musical Design, Volume I. William C Brown Pub, 1991.

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38

Adhitya, Sara. Musical Cities. UCL Press, 2018.

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39

Whitesell, Lloyd. Wonderful Design: Glamour in the Hollywood Musical. Oxford University Press, Incorporated, 2018.

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40

Frank, Lisa. Musical Dreams Design Book (Lisa Frank Books). Checkerboard Pr, 1987.

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41

Wonderful Design: Glamour in the Hollywood Musical. Oxford University Press, Incorporated, 2018.

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42

Board, Editorial. Music, Audio & Musical Instrument Design (International Directory of Design, 6th Ed.). 6th ed. Penrose Press, 2001.

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43

Whitesell, Lloyd. Wonderful Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.001.0001.

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Glamour is an elusive aspect of cinematic style. This book critically examines previous scholarship on glamour; defines the concept as a compound of artifice, allure, and magic; and examines the phenomenon at work in the genre of the film musical. The focus is on the role of music in representing glamour, and the stylistic and semiotic conventions by which glamour is embodied in sound. The book develops an analytical framework that applies across media, the better to appreciate music’s collaborative role within multimedia spectacle. First, glamour is situated as one of a handful of “style modes” orienting stylistic treatment in musical numbers. Second, glamour is shown to blend four distinct aesthetic parameters: sensuousness, restraint, elevation, and sophistication. Instead of being interpreted in relation to film narrative, the musical number is treated as a semiautonomous locus of meaning and expression, with its own formal demands and the power to eclipse narrative logic. Dozens of musical numbers are analyzed, drawn from more than eighty films, exploring glamour from the perspectives of arranging and orchestrational technique, the fantasies awoken in the spectator, and the invocation of magical belief. Anticonsumerist critiques of glamour are evaluated alongside counterarguments upholding glamour’s transformative and sustaining potential. Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.”

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44

(Introduction), John Scoville, ed. Musical Instrument Design: Practical Information for Instrument Making. See Sharp Press, 1996.

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45

Cogan, Robert. Music seen, music heard: A picture book of musical design. Publication Contact International, 1998.

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46

IDD5: Music, Audio & Musical Instrument Design: International Directory of Design, volume 12. 5th ed. Penrose Press, 2000.

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47

Bach to Brahms: Essays on Musical Design and Structure. University of Rochester Press, 2015.

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48

Bullock, Jamie. Designing Interfaces for Musical Algorithms. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.10.

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This chapter presents a range of approaches to the design of interfaces for the creation of and interaction with musical algorithms. The first part of the chapter grounds the discussion in an overview of salient design and development methods, drawing on the fields of usability, user experience, user-centred design, activity-centred design, and the psychological concept of ‘flow’. This culminates in the exposition of a new conceptual framework, music-centred design, which brings together these methods within the context of musical activity. The second part of the chapter presents a series of design case studies, each focusing on a distinct approach to interfaces for musical algorithms, and critically situates these in terms of design philosophy and implementation. A concluding argument is made for the centrality of design in the development of interfaces for algorithmic music.

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49

We'll meet again: Musical design in the films of Stanley Kubrick. 2013.

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50

Armstrong, Newton. An enactive approach to digital musical instrument design-Theory, Models, Techniques. VDM Verlag Dr. Mueller e.K., 2007.

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