Livres : « Sound-based music »

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Lloyd, Dean. Acutone : A new system of healing based on the ancient science of sound. La Mesa, Calif : La Mesa Holistic Center, 2000.

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Shambro, Joe. How to start a home-based recording studio business. Guilford, Conn : Globe Pequot Press, 2011.

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Sikh sacred music : Based on musicology of Sri Guru Granth Sahib ji : with sound tracks of hymn compositions based on 31 mukh raagas = Srī Gurū Grantha Sāhiba jī de rāgātamika darashana dīdāra : 31 mukkha rāgāṃ 'te ādhārata shabada rītāṃ sī. ḍī. sahita. Copenhagen, Denmark : Publication Bureau, Punjabi School Denmark, 2013.

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Menasché, Emile. The desktop studio : A guide to computer-based audio production. Milwaukee, WI : Hal Leonard, 2002.

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Myers, Kurtz. Index to record reviews, 1984-1987 : Based on material originally published in Notes, the quarterly journal of the Music Library Association, between 1984 and 1987. Boston, Mass : G.K. Hall, 1989.

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Index to record reviews, 1978-1983 : Based on material originally published in Notes, the quarterly journal of the Music Library Association, between 1978 and 1983. Boston, Mass : G.K. Hall, 1985.

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Schloss, Joseph Glenn. Making beats : The art of sample-based hip-hop. Middletown, Conn : Wesleyan University Press, 2004.

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Ystad, Sølvi. Speech, Sound and Music Processing : Embracing Research in India : 8th International Symposium, CMMR 2011, 20th International Symposium, FRSM 2011, Bhubaneswar, India, March 9-12, 2011, Revised Selected Papers. Berlin, Heidelberg : Springer Berlin Heidelberg, 2012.

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Landy, Leigh. Sound-Based Music 4 All. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199792030.013.0025.

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Lapidus, Benjamin. New York and the International Sound of Latin Music, 1940-1990. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.001.0001.

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New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. This book seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, the book examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. The book studies this sound in detail and in its context. It offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, the book treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, it recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.

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Greher, Gena R., et Jesse M. Heines. Computational Thinking in Sound. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199826179.001.0001.

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With Computational Thinking in Sound, veteran educators Gena R. Greher and Jesse M. Heines provide the first book ever written for music fundamentals educators that is devoted specifically to music, sound, and technology. Using a student-centered approach that emphasizes project-based experiences, the book provides music educators with multiple strategies to explore, create, and solve problems with music and technology in equal parts. It also provides examples of hands-on activities that encourage students, alone and in groups, to explore the basic principles that underlie today's music technology and freely available multimedia creation tools. Computational Thinking in Sound is an effective tool for educators to introduce students to the complex process of computational thinking in the context of the creative arts through the more accessible medium of music.

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De Souza, Jonathan. Music at Hand. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.001.0001.

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Musical instruments ground players’ actions and the sounds they create. Yet this book further claims that instruments mediate perception and imagination. Practicing an instrument builds bodily skills, while also fostering auditory-motor connections in players’ brains. These intersensory links reflect the ways that a particular instrument converts action into sound, the ways that it coordinates tonal and physical space. Reactivated in various ways, these connections can influence instrumentalists’ listening, improvisation, and composition. To investigate these effects, the book engages both classical and popular styles, from Bach to electronic music, from Beethoven to the blues. It uses Lewinian transformational theory to model instrumental interfaces and to analyze patterns of body-instrument interaction. Though based in music theory and analysis, the book also draws on psychology, including cognitive neuroscience, and the phenomenological philosophy of Maurice Merleau-Ponty and Martin Heidegger. Ultimately, it argues that music cognition is not simply embodied; it is also conditioned by musical technology.

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O'Callaghan, Clare, et Natasha Michael. Music Therapy in Grief and Mourning. Sous la direction de Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.42.

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Music therapists endeavour to understand music’s significance for people who are mourning unfulfilled hopes and a life once lived; who are trying to deal with uncertainty, altered identities, saying farewells, or impending death. Through music-based interventions in therapeutic relationships, music therapists extend the opportunities for music to enable and express mourning which can be congruent with helpful emotional release and coping. Participants are assisted to find comfort and fellowship through identifications with lyrics and sonorities, and the improved expressive capacity offered in music. Expanded awareness and renewed identities can occur through music-based counseling, imagery, improvisation, and song writing. Decedents’ legacies from music therapy may help their mourners to continue and rework bonds with them in bereavement. Such legacies include song recordings, and visual, kinesthetic, and sound memories of shared music therapy sessions.

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Cook, Nicholas. Seeing Sound, Hearing the Body. Sous la direction de Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.7.

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This chapter argues that visual and embodied dimensions of performance are integral to the experience of live music. The author describes this as the “old multimedia,” since the principles of intermedial alignment and meaning production in performance are in essence the same as in the “new multimedia” that forms the dominant mode of music consumption in the twenty-first century. The chapter largely consists of an extended case study based on two filmed performances by Glenn Gould of the first movement of Anton Webern’sPiano Variations, Op. 27. It addresses the role in Gould’s interpretations of hand lifts, body sway, and other physical gestures; the way in which his interpretation changed over time, as evidenced not only by these filmed performances but also by his audio recordings; the differences between interpretations designed for film and for sound recording; and what all this implies about the relationship between composer and performer.

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Barham, Jeremy. The Music of Gustav Mahler in Experimental Film Contexts. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0015.

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The anniversary years of the composer Gustav Mahler (150 years of his birth in 2010, 100 years of his death in 2011) took place in the age of digital media, whose technological possibilities afforded strikingly diverse opportunities to mark the occasion. Various experimental sound and video artists, produced audiovisual translations and interpretations of the composer’s music at this time, including Danish composer Henrik Marstal with VJ Dark Matters, and Austrian experimental composer Fennesz with Berlin-based video artist Lillevan. Building on a tradition which had begun in the 1990s, this repertoire is examined here from the theoretical and historical perspectives of “visual music” and intermediality.

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The Beginner's Guide to Computer-Based Music Production. Cherry Lane Music, 2005.

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Kromhout, Melle Jan. The Logic of Filtering. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190070137.001.0001.

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This book traces the profound impact of technical media on the sound of music, asking: How do media technologies shape sound? How does this affect music? And how did it change what we listen for in music? Based on the information theoretical proposition that all transmission channels introduce noise and distortion, the argument accounts for the fact that technologically reproduced music is inherently shaped by the technologies that enable its reproduction. The media archaeological assessment of this noise of sound media developed in the book draws from a wide range of sources, both theoretical and historical, conceptual and technical. Together, they show that noise should not be understood as unwanted by-effect but instead plays a foundational role in shaping the sonic contours of technologically reproduced music. Over the course of five chapters, the book sketches a broad history of the problem of noise in sound recording, looks at specific analog and digital noise-related technologies, traces the ideal of sonic purity back to key developments in nineteenth-century acoustics, and develops an analysis of the close interrelation between noise and the temporality of sound. This relation, it argues, is central to the way in which recorded sound and music resonate with listeners. Ultimately, this media-specific analysis of the noise of sound media thereby greatly enriches our understanding of the way in which they changed and continue to change the sonorous qualities of music, thus offering a new perspective on the interaction between music, media, and listeners.

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McAlpine, Kenneth B. The Ultimate Soundtracker ? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0006.

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In the early days of home computing, writing music was as much a technical as a creative process. This chapter explores how the launch of a software music package, Ultimate Soundtracker, for Commodore’s Amiga created a new, symbolic way to compose and edit music. It was sample-based and structured music using a grid-style interface that could be navigated using the computer keyboard, and its music files distributed both, making it easy to share—and copy—others’ musical ideas. This ‘open-source’ approach allowed nonprogrammers and nonmusicians to experiment with music making and for the sound to promulgate. This was also the period from which the term ‘chiptune’ emerged; the Amiga’s sample-based chipset allowed it to create other sounds beside raw electronic waveforms, and chiptune was used to highlight tracks written in the 8-bit sound chip style.

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The Techno Primer : The Essential Reference for Loop-Based Music Styles. Hal Leonard, 2002.

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Weinel, Jonathan. Shamanic Diffusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0006.

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This chapter explores how electroacoustic music takes the listener on a journey through unreal, imaginary, or hallucinatory sound-worlds. The chapter commences with a general explanation of electroacoustic music, and how it may allow illusory representations of real and unreal sounds and spaces. Following this, various compositions of electroacoustic music are discussed, which are explicitly based on altered states of consciousness such as dreams, shamanic visions, and hallucinations. It is proposed that the typical listening experience of these compositions can be characterized as introspective or meditative in form. The analysis of these works is also used to inform a conceptual model, which defines possible approaches for sound design related to altered states of consciousness according to several dimensions. In particular, this model considers approaches through which sound may either ‘represent’ or ‘induce’ altered states of consciousness—functions that are considered as distinct, yet related.

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Jutz, Gabriele. Audiovisual Aesthetics in Contemporary Experimental Film. Sous la direction de Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.10.

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This chapter maps the territory of the contemporary audiovisual cinematic avant-garde, which arose at the very moment of celluloid’s passage from mass use to obsolescence. It presents films that bear witness to the avant-garde’s ongoing interest in the formal organization of sound/image relationships. If one of the main concerns of sound in conventional film is to “naturalize” the image, experimental film is interested instead in ananti-naturalistic use of sound. Films without sound or even without images (which still can be called “films”), the use of audiovisual polysemy, asynchronous, or even synchronous sound, as well as the visualization of code-based music, are all means of revealing the constructed nature of the cinesonic event. The chapter examines the realm of the sound of technology itself, pointing out the creative potential ofoptically synthesized soundsas well aslive generated sounds and images, which attest to the agility of current projection performances.

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Bouteneff, Peter C., Jeffers Engelhardt et Robert Saler, dir. Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.001.0001.

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Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

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Richardson, John, Claudia Gorbman et Carol Vernallis, dir. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

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Llano, Samuel. Discordant Notes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199392469.001.0001.

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Scholarship on urban culture and the senses has traditionally focused on the study of literature and the visual arts. Recent decades have seen a surge of interest in the effects of sound on the urban space and its population. These studies analyze how sound generates identities that are often fragmentary and mutually conflicting. They have also explored the rise of campaigns against the negative effects of noise on the nerves and health of the population. However, little research has been carried out on the impact of sound and music in areas of broader social and political concern, such as social aid, hygiene, and social control. Based on a detailed study of Madrid from the 1850s to the 1930s, this book argues that sound and music have played a key role in structuring the transition to modernity by helping to negotiate social attitudes and legal responses to problems such as poverty, insalubrity, and crime. Attempts to control the social groups that own unwanted musical practices such as organ-grinding and flamenco performances in taverns raised awareness about public hygiene, alcoholism, and crime and triggered legal reform in these areas. In addition to marginalizing and persecuting these musical practices, the authorities and the media used workhouse bands as instruments of social control to spread “aural hygiene” across the city and wipe out unwanted musical practices.

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Grekow, Jacek. From Content-based Music Emotion Recognition to Emotion Maps of Musical Pieces. Springer, 2018.

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Grekow, Jacek. From Content-based Music Emotion Recognition to Emotion Maps of Musical Pieces. Springer, 2017.

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Shaw-Miller, Simon. Object and Idea. Sous la direction de Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.45.

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This chapter concentrates on the strain of modernism that flows from the work of French artist Marcel Duchamp and its relationship to ideas of music. While the significance of music as a paradigm for the development of “purist” modernism is well known—it is an ideology best encapsulated in the writing of Clement Greenberg, the development of abstraction in art, and is based on the model of musical meaning that was consequent on the concept of “absolute music”—what is less well known is the significance of music for the strain of modernism that came through Duchamp, forming a hybrid conceptual alternative to purism. It is argued that the idea of the readymade is consistent with idea of music as more than just sound, as a discursive practice, and that this “extra-musical” conception of music (as counterpoise to absolute music) provides a lineage linking Duchamp to Paik to Marclay.

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Mark, Palkovic, Cauthen Paul, Le Sueur Richard et Myers Kurtz, dir. Index to CD and record reviews 1987-1997 : Based on material originally published in Notes : quarterly journal of the Music Library Association between 1987 and 1997. New York : G.K. Hall, 1998.

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Zur Nieden, Gesa. Symmetries in Spaces, Symmetries in Listening. Sous la direction de Christian Thorau et Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.16.

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Based on the importance of the concept of symmetry in French sociological aesthetics circa 1900, this chapter analyzes the convergence of theaters, musical form, and musical understanding. The analysis focuses on architectural shape, audience response, and the musical repertoire in the new theaters built in Barcelona (1847), Paris (1862), and Rome (1880). While these theaters were fashioned after the baroque form of the “teatro all’italiana” that prevailed in Italy, France, and Spain during the late nineteenth century, they provided huge spaces accommodating a socially mixed audience within an architecturally symmetrical form. Music critics often aligned acoustic sound waves with actual visibility in the auditorium, and semicircular structures in the scenography on stage may have affected the reception of the musical performance. The newly built theaters arrived at a time when the “classical” music scene and a certain canon was developed, opposing the more “intellectual” audiences and repertories of contemporary music.

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Smigel, Eric. Sights and Sounds of the Moving Mind. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0006.

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American experimental filmmaker Stan Brakhage revolutionised independent cinema by cultivating a new poetic idiom designed to document the subjective vision of the eye behind the camera. Committed to an inclusive account of the lived visual experience, he augmented the cinematic vocabulary by including components such as hallucination, dreams, closed-eye images and optical feedback, capturing these ephemeral elements using a wide variety of ‘home-made’ modifications to the filming process, including erratic hand-held camera movement, distortion of focus and changing camera speeds. Although most of his projects are silent, he corresponded with composer James Tenney to explore intersections between cinema (“moving visual thinking”) and music (“sound equivalent of the mind’s moving”). When employing a soundtrack, Brakhage gravitated towards musique concrète, which he regarded as an audio analogy for cinematic montage, and he devised a unique brand of audiovisual counterpoint based on the rhythmic interplay of the psychophysiological processes of sight and sound.

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Ragland, Cathy. “Tejano and Proud”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0006.

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This chapter illustrates how the diatonic accordion symbolically embodies the Texan-Mexican community's economic struggle while also distinguishing it as the core of an “authentic” Tejano conjunto sound despite the significant change and fragmentation the music has undergone, particularly during the last fifty years. This Tejano population would also try to distinguish itself musically from the more recent waves of Mexican immigrants who tend to cling on to their own kind of accordion-based music—música norteña. While for the Tejano the accordion symbolizes the cultural memory of a working-class past that allows them to celebrate their role in the making of a prosperous Texan and American society, for Mexican immigrants it is a symbol of regional identity and, at the same time, of their transnational experience.

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Carr, James Revell. “Honolulu Hula Hula Heigh”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038600.003.0006.

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This chapter illustrates how the relationship between sailors and Hawaiians helped to foster the new sound of Native Hawaiian culture in the late nineteenth and early twentieth centuries. Hawaii's last king, David Kalākaua, was influenced by sailors' songs and minstrelsy, and his maritime adventures contributed to his policy of promoting indigenous Hawaiian music. The chapter also examines the works of the early hapa haole songwriter Joseph K. A'ea, a close friend of Queen Lili'uokalani and member of the Royal Hawaiian Band, who based at least one of his earliest popular songs on the lyrical, rhythmic, and melodic characteristics of the nineteenth-century sea chantey.

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Marovich, Robert M. From Birmingham to Chicago. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0008.

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This chapter focuses on the advent of gospel quartet singing in Chicago around the late 1920s, when Norman McQueen, Charles Bridges, and other quartet trainers migrated to Chicago from the South. McQueen, Bridges, and others introduced to Chicago a style of part singing that was earthier and more vocally percussive than what jubilee quartets were used to singing. Thanks to the quartet sound, gospel music became extremely popular nationally. This chapter documents the history of jubilee quartets in Chicago, beginning with the Standard Quartette followed by the Sunset Four, and proceeds with a discussion of the contributions of McQueen, Bridges, the Soul Stirrers, the Famous Blue Jays of Birmingham, and other gospel quartets to the growth of the Chicago quartet movement. Finally, it looks at some Chicago-based female quartets such as the Four Harmony Queens, the Crooning Sisters, the GoldenTone Female Quartet, the Four Loving Sisters, and the Jubilee Four Female Quartet.

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