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Books on the topic 'Timbre space'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Gribbin, John R. Time & space. Dorling Kindersley, 1994.

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2

Gribbin, John R. Time & space. Dorling Kindersley, 2000.

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3

Gribbin, John R. Time & space. Dorling Kindersley, 2000.

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4

Mike, Goldsmith. Space. Ripley Pub., 2009.

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5

Mike, Goldsmith. Space. Ripley Pub., 2009.

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6

Time and space. McGill-Queen's University Press, 2001.

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7

Mike, Goldsmith. Space. Ripley Pub., 2009.

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8

ill, Mulkey Kim, ed. Space bingo. Bantam, 1996.

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9

Abbott, Tony. Space bingo. Bantam, 1996.

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10

Human space. Hyphen, 2011.

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11

Barker, Terry. Space-time economics. Cambridge Econometrics, 1996.

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12

Schmeikal, Bernd. Primordial space. Nova Science Publishers, 2009.

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13

Time: Sense, space, structure. Brill, 2016.

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14

Borel, Emile. Space and time. Dover Publications, 2003.

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15

Joyce, Elisabeth W. "The small space of a pause": Susan Howe's poetry and the spaces between. Bucknell University Press, 2010.

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16

"The small space of a pause": Susan Howe's poetry and the spaces between. Bucknell University Press, 2010.

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17

For space. SAGE, 2005.

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18

Time, space, and philosophy. Routledge, 1991.

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19

Christopher, Ray. Time, space and philosophy. Routledge, 1991.

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20

Morgan, William Samuel. Synthesis: Space & shadows. Choice Limitless, 1994.

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21

1956-, Carroll Caroline, ed. Space & time. ZonderKidz, 2005.

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22

1972-, Dorr Cian Seán, ed. Space, time, & stuff. Oxford Univ. Press, 2012.

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23

Space and time. Creative Education, 2012.

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24

Warf, Barney. Time-space compression. Routledge, 2008.

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25

Warf, Barney. Time-space compression. Routledge, 2008.

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26

Christodoulou, Demetrios. The global nonlinear stability of the Minkowski space. Princeton University Press, 1993.

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27

Rundle, Bede. Time, space, and metaphysics. Oxford University Press, 2009.

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28

Rundle, Bede. Time, space, and metaphysics. Oxford University Press, 2009.

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29

Rundle, Bede. Time, space, and metaphysics. Oxford University Press, 2009.

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30

ill, Jones Kelley 1962, ed. Space Mountain. Disney Press, 2014.

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31

M, Jolas, ed. The poetics of space. Beacon Press, 1994.

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32

Baltazar, Art. Titans in space. Stone Arch Books, 2013.

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33

Weemaels, Mariette. WEEBAU: Catalogue mondial des timbres de lʼespace : wereldcatalogus van ruinmtevaartzegels : world space catalogue. 2-ге вид. R-Editions, 1991.

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34

Kitzmiller, Ann Hall. Dynamic space, demands, dynamic time. Each-Mara Designs, 2005.

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35

Investigations in philosophy of space. Ohio University Press, 1987.

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36

Perelberg, Rosine Jozef. Time, space, and phantasy. Routledge, 2008.

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37

ill, Bond Higgins, ed. Handshake in space. Soundprints, 1998.

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38

Time and space. 2nd ed. McGill-Queen's University Press, 2010.

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39

The production of space. Blackwell, 1991.

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40

Larson, Dewey B. Beyond space and time. North Pacific Publishers, 1995.

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41

The production of space. Blackwell, 1991.

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42

Volosov, I. D. Space-time origination. I.D. Volosov, 1993.

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43

Time, space, and phantasy. Routledge, 2008.

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44

McAdams, Stephen, and Bruno L. Giordano. The perception of musical timbre. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0007.

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This article discusses musical-timbre perception. Musical timbre is a combination of continuous perceptual dimensions and discrete features to which listeners are differentially sensitive. The continuous dimensions often have quantifiable acoustic correlates. The timbre-space representation is a powerful psychological model that allows predictions to be made about timbre perception in situations beyond those used to derive the model in the first place. Timbre can play a role in larger-scale movements of tension and relaxation and thus contribute to the expression inherent in musical form. Under conditions of high blend among instruments composing a vertical sonority, timbral roughness is a major component of musical tension. However, it strongly depends on the way auditory grouping processes have parsed the incoming acoustic information into events and streams.

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45

Wallmark, Zachary. The Sound of Evil. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0004.

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This chapter investigates the “brutal” timbral soundscape of death metal music. Through a discussion of electric guitar tone and vocal techniques, the chapter’s author contends that death metal musicians knowingly manipulate their listeners’ biological responses within a symbolically mediated context, pitting “noise” against “music” in a ritualized dialectic. Theorizing about the role of distortion in the affective vocabulary of the style, particularly with its simulation of bodily pain, the chapter invokes René Girard’s theory of sacrificial violence to conclude that timbre performs potent cultural work in the ritual space of the death metal concert. Sociological and psychological aspects of “extreme” timbres are discussed in conclusion.

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46

Eidsheim, Nina Sun. “The Triumph of Jimmy Scott”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0007.

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Jazz singer Jimmy Scott’s ambiguously gendered voice became the stuff of legend and was reviled by some and revered by many. His singular vocal timbre fell in a liminal space between black and white, young and mature, male and female. He first gained a cult following and the respect of other prominent singers because of his unique voice and nuanced vocal stylings. His unusual timbre, however, presented marketing challenges. Scott labored in near obscurity for much of his career; his photograph was not included on his own album covers, and he was often unlisted or misidentified in recording credits with other singers. This chapter explores the motivations behind these problems, including gender, sexuality, and racial politics, and how they impacted the reception of Scott.

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47

Bell, Adam Patrick. Track 3. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0005.

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Tyler credits the Internet as both his principal music instructor (e.g., YouTube) and influence (e.g., Facebook). Living in cramped quarters, the twenty-seven-year-old has modularized his bedroom such that it allows him to eat, sleep, work, play, and make music in the same two-hundred-square-foot space. By concocting a social network of avatars, Tyler has mapped out a lifetime’s worth of music he will author under the guise of these different heteronyms (personas). Tyler’s music-making with Ableton Live emphasizes the importance of editing and timbre tinkering. He spends little time recording performances, but literally a decade perfecting them by cutting, pasting, looping, equalizing, pitch shifting, and rewriting after repeated listenings.

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48

Schmeikal, Bernd. Primordial space: Pointfree space and logic case. 2012.

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49

Zaya, Anthony F. Heavy timber structures: Creating comfort in public spaces. 2017.

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50

Bretnor, Reginald. Gilpin's Space. Ace Books, 1986.

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