Relevant bibliographies by topics / Sound – Recording and reproducing – Psychological aspects

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Academic literature on the topic 'Sound – Recording and reproducing – Psychological aspects'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Sound – Recording and reproducing – Psychological aspects"

1

Dashkinova, Iroda. "An Integrated Approach to Preparing A Pop Vocalist for Sound Recording." International Journal of Pedagogics 5, no. 4 (2025): 129–30. https://doi.org/10.37547/ijp/volume05issue04-34.

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Recording vocals in a professional studio is a complex and multi-stage process that requires not only a high level of performance from the vocalist, but also proper preparation. The article discusses the main aspects of preparing a pop vocalist for sound recording, including vocal, technical and psychological components. The importance of an integrated approach to achieving high sound quality is emphasized.
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2

ASAKURA, Takumi. "Relationship between psychologican and physiological responses to broadband water sounds." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 270, no. 4 (2024): 7450–55. http://dx.doi.org/10.3397/in_2024_3961.

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This study aimed to investigate the effects of reproducing an ultrasonic sound above 20 kHz on the subjective impressions of water sounds using psychological and physiological information obtained by the semantic differential method and electroencephalography (EEG), respectively. The results indicated that the ultrasonic component affected the subjective impression of the water sounds. In addition, regarding the relationship between psychological and physiological aspects, a moderate correlation was confirmed between the EEG change rate and subjective impressions. However, no differences in ch
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3

Fu, Xinbin. "Virtual choir as a kind of digital musical art." Culture of Ukraine, no. 86 (December 24, 2024): 71–79. https://doi.org/10.31516/2410-5325.086.08.

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The relevance of the article. The so-called virtual choirs remain very common in modern musical creativity. Their activities are studied in modern science in many aspects: historical, technical, socio-psychological, musicological, etc. However, there is a debate about whether such a form of artistic activity can be considered a type of choral performance. The purpose of the study is to clarify whether the phenomenon of “virtual choir” belongs to choral or digital art. The methodology. Structural, functional and comparative analysis were used to analyze the specifics of the work of real and vir
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4

Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts." Aspects of Historical Musicology 15, no. 15 (2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.

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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the m
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5

Kepule, Iveta. "The possibilities of using the playing of recorder in the music teaching for the first grade pupils." Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, September 28, 2013, 90. http://dx.doi.org/10.17770/amcd2013.1256.

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The goal of the paper is to evaluate and propose methodological techniques for the introduction of the playing of recorder in the music teaching for the first grade pupils, in order to more successfully develop the basic singing skills. Methods: analysis of the teaching and psychological literature regarding the possibilities of playing the recorder in the music teaching, observation and analysis of the process of music teaching and the reflection on the personal experience in connection with the standard of the General education of Latvia in the music teaching. Analysis of the informal discus
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6

Asakura, Takumi. "Subjective effects of broadband water sounds with inaudible high-frequency components." Scientific Reports 14, no. 1 (2024). http://dx.doi.org/10.1038/s41598-024-57749-w.

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AbstractThis study aimed to investigate the effects of reproducing an ultrasonic sound above 20 kHz on the subjective impressions of water sounds using psychological and physiological information obtained by the semantic differential method and electroencephalography (EEG), respectively. The results indicated that the ultrasonic component affected the subjective impression of the water sounds. In addition, regarding the relationship between psychological and physiological aspects, a moderate correlation was confirmed between the EEG change rate and subjective impressions. However, no differenc
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7

Jones, Steve. "Seeing Sound, Hearing Image." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1763.

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“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies Popular music is firmly rooted within realist practice, or what has been called the "culture of authenticity" associated with modernism. As Lawrence Grossberg notes, the accelleration of the rate of change in modern life caused, in post-war youth culture, an identity crisis or "lived contradiction" that gave rock (particularly) and popular music (generally) a peculiar position in regard to notio
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8

Collins, Rebecca Louise. "Sound, Space and Bodies: Building Relations in the Work of Invisible Flock and Atelier Bildraum." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1222.

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IntroductionIn this article, I discuss the potential of sound to construct fictional spaces and build relations between bodies using two performance installations as case studies. The first is Invisible Flock’s 105+dB, a site-specific sound work which transports crowd recordings of a soccer match to alternative geographical locations. The second is Atelier Bildraum’s Bildraum, an installation performance using live photography, architectural models, and ambient sound. By writing through these two works, I question how sound builds relations between bodies and across space as well as questionin
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9

Davies, Alex, and Alexandra Lara Crosby. "Art Is Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3003.

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Magic and art are products of human connection with the universe, offering answers to questions of meaning and working in interstices between fiction and reality. Magic can and does permeate all forms of media and is depicted as both entertaining and dangerous, as shaping world views, and as practised by a vast array of individuals and groups across cultures. Creative practices in cinema, radio, and installation art suggest that deceptive illusions created through magic techniques can be an effective means of creating compelling and engaging media experiences. It is not surprising, then, that
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10

Reed, Darren, and Malcolm Ashmore. "The Naturally-Occuring Chat Machine." M/C Journal 3, no. 4 (2000). http://dx.doi.org/10.5204/mcj.1860.

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Chat: pretty basic stuff; we can all recognise it and we can all do it. Yet when we come to define chat we have to make decisions about its character. For us, chat is defined by its 'informality' (not that we are capable of defining that), not its modality. Thus it names informal textual interaction as well as informal voiced interaction: holiday postcards, letters to friends and informal emails, along with telephone and dinner table conversation. However, in Conversation Analysis (CA) -- the pre-eminent mode of 'chat analysis' -- textually produced interaction is not considered an altogether
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Books on the topic "Sound – Recording and reproducing – Psychological aspects"

1

Maempel, Hans-Joachim. Klanggestaltung und Popmusik: Eine experimentelle Untersuchung. Synchron, 2001.

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2

Chion, Michel. Le son. Armand Colin, 2004.

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Chion, Michel. Le Son. Nathan, 1998.

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4

Morrison, Robert Keith. Disk recording 1930 to 1960: A review of some equipment and techniques used in making phonograph records and electrical transcriptions. Patricia Morrison, 2005.

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5

Ian, Graham. Music & sound. Barron's Educational Series, Inc., 2000.

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6

Hans, Hirsch. Schallplatten zwischen Kunst und Kommerz: Fakten, Tendenzen und Überlegungen zur Produktion und Verbreitung von Tonträgern. F. Noetzel, 1987.

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7

Kulle, Jürgen. Ökonomie der Musikindustrie: Eine Analyse der körperlichen und unkörperlichen Musikverwertung mit Hilfe von Tonträgern und Netzen. P. Lang, 1998.

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8

Krantz, Douglas. How can I use the sound system to communicate more effectively with my congregation? Krantz Communications, 1995.

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9

Eisenberg, Evan. The recording angel: The experience of music from Aristotle to Zappa. Penguin books, 1988.

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10

Eisenberg, Evan. The recording angel: Music, records and culture from Aristotle to Zappa. Pan Books, 1988.

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