scholarly journals From Sound to Sound Space, Sound Environment, Soundscape, Sound Milieu or Ambiance …

Paragraph ◽  
2018 ◽  
Vol 41 (1) ◽  
pp. 95-109 ◽  
Author(s):  
Makis Solomos
Keyword(s):  
Sound Studies ◽  
Sound Art ◽  
Sound Recording ◽  
Relational Approach ◽  
Default Options ◽  
Sound Environment ◽  
The Subject

This article proposes approaching the phenomenon of sound as a fabric of relationships. Critiquing the notion of a sound object as it has become defined thanks to the fixity enabled by sound recording, it focuses on the characteristics of sound that converge towards a relational approach and suggests that there is an inextricable link between the vibrating object, the milieu in which the vibration spreads and the subject who listens. It is probably for this reason that current research — whether in music, sound art or other disciplines that centre on sound, from sound studies to environmental ecology — implicitly seeks to move beyond the concept of sound alone in favour of compounds that combine sound with other elements. While the notions of sound ‘spaces’ and sound ‘environments’ appear as the default options here, three other compounds in particular highlight, in their own way, the relational approach: ‘soundscapes’, ‘sound milieus’, and sound ‘ambiances’ and ‘atmospheres’.

Acoustic Art Forms in the Age of Recordability

2015 ◽  
Vol 20 (2) ◽  
pp. 200-206
Author(s):  
Gerald Fiebig
Keyword(s):  
Visual Art ◽  
Electroacoustic Music ◽  
Sound Art ◽  
Sound Recording ◽  
Technological Basis ◽  
Sonic Art ◽  
Art Forms ◽  
The Status ◽  
History Of ◽  
Radio Art

Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.

Figures of/for Voice

2019 ◽  
Author(s):  
David Nowell Smith
Keyword(s):  
Inner Ear ◽  
Sound Production ◽  
Silent Reading ◽  
The Body ◽  
Read Aloud ◽  
Sound Recording ◽  
Literary Works ◽  
The Status ◽  
The Subject ◽  
Presence And Absence

The concept of “voice” has long been highly ambiguous, with the physiological-phonetic process of sound production entangled in a far more extensive cultural and metaphysical imaginary of voice. Neither purely sound nor purely signification, voice can name either a sonorous excess over signification or the point at which sounds start to signify. Neither purely of the body nor ever extricated from its body, it can figure multiple kinds of meaningful embodiment, the breakdown of meaning in brute materiality, or even a strangely disembodied emanation. Voice can be both intentional and involuntary, both singular and plural, both presence and absence, both the possession of a subject and something that possesses subjects or is uncontainable by the subject. Voices may signify immediacy and be experienced as immediate, and yet they are continually mediated—by text, by technology, by art. In literature, the status of voice is particularly fraught. Not only do literary works deploy this imaginary of voice, but voice is crucial to literature’s medium. If this is most evident in the case of works composed or transmitted orally, it also holds for written works that, while destined for silent reading, nevertheless construct a virtual soundworld destined for its reader’s inner ear, to be subvocalized rather than read aloud. Literary works have been crucial in the development and deployment of the cultural-metaphysical imaginary of voice, precisely because “voice” poses such a diverse set of questions and problems for literature. These problems change focus and force with the development of technologies of inscription and prosthesis, from printing to sound recording to automated speech.

scholarly journals Hikikomori: a systemic-relational analysis

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Marilena Maglia
Keyword(s):  
Family System ◽  
Social Withdrawal ◽  
Dysfunctional Family ◽  
Problem Solving Skills ◽  
Social Commitment ◽  
Relational Approach ◽  
The Past ◽  
The Subject ◽  
Causes And Risk Factors

Over the past 40 years, Japan has spread a definite condition: hikikomori. The term derives from hiku, “pull back”, and komoru, “island”, and describes a form of voluntary social withdrawal that involves adolescents. These subjects avoid social commitment, school education and friendships with an associated digital dependence. The causes identified depend on a cultural/educational and family system in which individual identity is subordinated to social identity, causing isolation. Early identification of hikikomori and above all its differentiation from other syndromes appears necessary to avoid inadequate diagnosis and interventions. This study stems from the intention to outline the phenomenon starting with the presentation of the characteristics of the phenomenon, focusing on possible causes and risk factors, then explain the psychological therapy based on the systemic-relational approach. A clinical case will be presented according to principles of the systemic-relational intervention. The subject, with a psychopathological diagnosis that can be linked to hikikomori and digital dependence, showed a dysfunctional family structure that has been treated by family psychotherapy. At the follow-up visit the patient showed new interpersonal skills by improving management and problem-solving skills.

Sound Studies

Music ◽  
2020 ◽  
Author(s):  
Marie Thompson
Keyword(s):  
Science And Technology Studies ◽  
White Male ◽  
Speech Sound ◽  
Sound Studies ◽  
Sound Art ◽  
Late 20Th Century ◽  
Ecological Relations ◽  
Historical Developments ◽  
Sonic Environment ◽  
Media And Communication

Sound studies examines concepts, practices, and technologies of sound and listening in different historical and cultural contexts. It is considered a relatively new field, emerging in the first few years of the 21st century. However, texts from the late 20th century—notably Jacques Attali’s Noise: The Political Economy of Music (1985) and R. Murray Schafer’s The Soundscape: The Tuning of the World and Our Sonic Environment (1994)—have been central to the formation and development of sound studies. Common areas of study include sound technologies and media, philosophies of sound and listening, and soundscapes and sound environments. Sound-studies scholarship also addresses specific aspects of auditory culture, such as noise, silence, loudness, vocality, speech, sound art, and music, and their imbrication with ethical, political, and ecological relations. A central contestation of the field is the importance of sound and aurality to the historical developments associated with modernity. Sound studies have sought to challenge the ocularcentric tendencies of cultural and critical analysis, and the associated dualisms of hearing/seeing and sound/vision. Transdisciplinary and interdisciplinary in its scope, research in sound studies works in and across history, musicology, sociology, cinema studies, literary studies, disability studies, American studies, geography, anthropology, media and communication studies, science and technology studies, architecture, gender studies, critical race studies, and art history. Consequently, the field’s analytic approaches and methods are diverse. However, it has often been Eurocentric, centering the West and the white, male innovator. There is a growing body of work that engages with the racial and gendered dimensions of sound and has sought to expand the remit of sound studies beyond the colonial core.

The sonic heritage of ecosystems

2017 ◽  
Author(s):  
David Monacchi
Keyword(s):  
Climate Change ◽  
Sound Art ◽  
Sound Recording ◽  
Human Pressure ◽  
Environmental Sound ◽  
Natural Habitats ◽  
Ecological Awareness ◽  
3D Sound ◽  
Intangible Heritage ◽  
Interdisciplinary Project

This paper discusses the importance of the ‘paleo- soundscapes’ of remote natural habitats as unique footprints of the systemic behaviour of healthy ecosystems and proposes considering them as intangible heritage to be urgently recorded and preserved. The interdisciplinary project Fragments of Extinction has worked toward preserving that ecological heritage through multidimensional sound recording eldwork in primary equatorial rainforests since 2002. The soundscapes of these unique, untouched and undisturbed places – increasingly threatened by human pressure and climate change – represent an object of patrimonialization that can offer insights to a range of fields. The project seeks to merge science (eco acoustics), technology (3D sound recording and reproduction) and art (environmental sound art) to contribute to the preservation of examples of the ordered and fragile equilibrium of biodiversity, and to encourage ecological awareness among audiences.

Experiencing High Fidelity

2018 ◽  
Author(s):  
Axel Volmar
Keyword(s):  
Cold War ◽  
Critical Discussion ◽  
Sound Studies ◽  
High Fidelity ◽  
Music Listening ◽  
Sound Recording ◽  
Historical Sources ◽  
Middle Classes ◽  
Self Image ◽  
The Cold War

This chapter focuses on the shifting conceptions of how to listen to music in the age of sound recording. I start with reviewing Adorno’s concerns regarding a regression of listening and contrast these with new listening practices in the first half of the twentieth century. I show, then, how hi-fi enthusiasts in the Cold War era linked ideals of sophisticated music listening to recorded music and technical expertise. While the self-image of the cultivated yet technologically aware domestic listener greatly revalued the experience of skillful music listening, I show how societal change rendered normative ideals of listening increasingly unattractive late in the century. Relying on recent sound studies research and various historical sources, I offer a critical discussion of conceptions of skillful music listening and put this debate in the context of shifting self-conceptions among the middle classes as well as the power struggles this section of society faced.

scholarly journals Musical Informatics Course for Musicians with using Music Computer Technologies

2020 ◽  
Vol 8 (6) ◽  
pp. 3040-3045
Keyword(s):  
New Media ◽  
Music Education ◽  
New Music ◽  
Sound Recording ◽  
Subject Knowledge ◽  
Musical Education ◽  
Professional Activities ◽  
Computer Technologies ◽  
The Subject ◽  
And Training

All over the world, educational researchers are looking for new ways to optimize music education in accordance with the new capabilities of digital tools. World-wide changes are being implemented through transmitting and presenting the information. Digital technologies have permeated music and musical education. Advances in sound recording and music creation technology, combined with new media capabilities, have defined previously non-existent directions for the development and distribution of music and require knowledge that musicians who have received classical musical education do not possess. The subject of the article is the evolution of current theoretical and practical bases for improving the knowledge of musicians using music computer technologies. Learning to play electronic musical instruments is to be required by contemporary society in connection with the demands for a higher level of professional activities in the field of music, the need to conduct a high-quality teaching that includes computer technologies in the field of art as s particular of the Digital Age School. The discipline of Musical Informatics, which has been constantly developing since the mid-70s (IRCAM, France), can have a significant impact on the formation of subject knowledge of musicians associated with the development of new music computer technologies and their use in creativity and training.

scholarly journals Using Slowmation for animated storytelling to represent non-Aboriginal preservice teachers' awareness of "relatedness to country"

2011 ◽  
Vol 27 (1) ◽  
Author(s):  
Anthony McKnight ◽  
Garry Hoban ◽  
Wendy Nielsen
Keyword(s):  
Preservice Teachers ◽  
Cultural Diversity ◽  
Digital Storytelling ◽  
Aboriginal People ◽  
Ways Of Knowing ◽  
Assessment Data ◽  
Relational Approach ◽  
Special Place ◽  
The Subject ◽  
Stop Motion

<span>In this study, a group (N=15) of final year non-Aboriginal preservice teachers participated in an elective subject that aimed to raise their awareness about Aboriginal ways of knowing. A vital aspect of the course was developing the preservice teachers' awareness of "relatedness to country" which is a key belief for Aboriginal people. The non-Aboriginal preservice teachers selected their own special place and then experienced Aboriginal ways of knowing throughout the course and visited local Aboriginal sites to hear and listen to stories shared by an Aboriginal Elder. At the end of the subject, the preservice teachers created their own animated story about their special place using an approach called called </span><em>Slowmation</em><span> (abbreviated from "Slow animation"), which is a narrated stop-motion animation that is played slowly at 2 photos/second to tell a story. It is a simplified way for preservice teachers to make animations that integrates aspects of claymation, digital storytelling and object animation. To research this approach, the preservice teachers were interviewed at the beginning and end of the course as well as submitting their animation for assessment. Data collected revealed that all the preservice teachers were able to make an animated story explaining their relationship to their "special place" and most developed a deeper understanding of what a relational approach to country means. Getting the preservice teachers to make animated stories helped them to reflect upon their special place and was a creative way to develop their awareness of cultural diversity, especially about Aboriginal ways of knowing.</span>

scholarly journals WHEN, WHERE, AND HOW IS DIGITAL SOUND?

2020 ◽  
Author(s):  
Mel Stanfill ◽  
Jeremy Wade Morris ◽  
Jonathan Sterne ◽  
Elena Razlogova ◽  
Sarah Murray
Keyword(s):  
Sound Studies ◽  
Internet Research ◽  
Internet Studies ◽  
Common Object ◽  
Ongoing Work ◽  
Digital Production ◽  
Production Technologies ◽  
The Subject ◽  
Text Content ◽  
Digital Sound

This panel’s first author, in discussing podcast archiving, notes that internet archives like the Wayback Machine have had much more focus on preserving visual and text content than sound. Internet Research has similarly traditionally had less engagement with sound than with other forms of digital content. This panel seeks to contribute to ongoing work to bring Sound Studies and Internet Studies into better conversation with each other, taking digital sound as a common object and examining it in different cases and through different methods to provide a richer understanding of the role sound plays in shaping our online experiences. The papers coalesce around their common object of inquiry, digital sound, providing depth of understanding about the subject matter by approaching from different directions. Moreover, the papers help to illuminate each other by taking different approaches to common themes. The first and second papers raise key questions about who tends to be included and excluded in circuits of production as well as whose digital sound tends to be seen as valuable. Papers 1, 2, and 3 all ask about how, despite rhetorics of democratization and variety, forms of digital sound may be becoming standardized through technological and social means. The first and third papers call attention to the ways the specific affordances of given digital production technologies shape (though do not determine) the kinds of production that become prevalent in a given moment. There are also methodological convergences: papers 3 and 4 take as their object of inquiry technology makers, and papers 2 and 4 both use press coverage as the site of investigation. Finally, papers 2 and 4 ask questions about what people believe is socially proper or correct in the case of digital sound. In these ways, this panel represents both an important contribution to our understanding of contemporary issues in digital sound as well as relating to broader questions central to internet research.

scholarly journals Musik og design. Phil spector og lydfladens medialisering

2011 ◽  
Vol 39 (111) ◽  
pp. 127-149
Author(s):  
Ulrik Schmidt
Keyword(s):  
Popular Culture ◽  
Sound Production ◽  
Extensive Literature ◽  
Sound Design ◽  
Sound Recording ◽  
Musical Sound ◽  
Music Production ◽  
General Investigation ◽  
The Subject ◽  
The Relationship

MUSIC AND DESIGN. PHIL SPECTOR AND SOUNDSCAPES MEDIATIZATIONPhil Spector is often referred to as one of history’s first true music producers, and his famed ‘Wall of Sound’ has been the model for many future musical productions. However, Spector’s productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musicalsound as something that depends primarily on a musical performance and secondarily its technical reproduction S towards a conception of music as a form of design. Hence, Spector’s productions make a favorable material for a more general investigation of the relationship between music and design. Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, the different aspects of Spector’s design have not yet been the subject of a broader phenomenological and aesthetic investigation. “Music and Design” explores the key elements in Spector’s musical project through an analysis of his use of repetition, accumulation and synthetized sound in hit recordings such as He’s a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from external media conditions, to musical sound as simultaneously a more synthetic and mediatized as well as moremassive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.

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