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Surround Sound Auteurs and the Fragmenting of Genre
Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Williams, A. (2019). Surround Sound Auteurs and the Fragmenting of Genre. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 319-328). Stockholm: Royal College of Music (KMH) & Art of Record Production. Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Abstract Multi-channel sonic experience is derived from a myriad of technological processes, shaped by market forces, configured by creative decision makers and translated through audience taste preferences. From the failed launch of quadrophonic sound in the 1970s, through the currently limited, yet sustained niche market for 5.1 music releases, a select number of mix engineers and producers established paradigms for defining expanded sound stages. Whe- reas stereophonic mix practices in popular music became ever more codified during the 1970s, the relative paucity of multi-channel releases has preserved the individual sonic fingerprint of mixers working in surround sound. More- over, market forces have constricted their work to musical genres that appeal to the audiophile community that supports the format. This study examines the work of Elliot Scheiner, Bob Clearmountain, Giles Martin, and Steven Wilson to not only analyze the sonic signatures of their mixes, but to address how their conceptions of the soundstage become associated with specific genres, and serve to establish micro-genres of their own. I conclude by ar- guing that auteurs such as Steven Wilson have amassed an audience for their mixes, with a catalog that crosses genre boundaries, establishing a mode of listening that in itself represents an emergent genre – surround rock. -
UW System Requests $30 Surcharge
Inside Block that sun P.3 Yoko is surprise P.4 Women's buckets win opener * .. P.5 Unique gift guide special insert Vol. 25, NO. 30, December 2,1980 UW System requests $30 surcharge by James E. Piekarski not seek a general tax increase when the The letter also cited the "uncertain ofThePoststaff legislature reconvenes in January. ties" caused by litigation challenging the 4.4 percent budget cutback to muni The UW Board of Regents is expected Committee referral cipalities and school districts. The State to approve a $30 surcharge for the second If the Regents approve the $30 sur Supreme Court has ordered the return semester at its meeting this week, ac charge, it must then be approved by Of almost $18 million to municipali cording to UW System Vice President the legislature's Joint Committee on ties, and the school district case, which Reuben Lorenz. Finance. At a November meeting, the seeks the return of $29 million, is still The surcharge, which would raise tui Regents approved a resolution, with only pending. - tion for a semester to $516 for a full- one objection, that authorized UW Sys Chancellor Frank Horton, who will time resident undergraduate student, is tem President Robert O'Neil to file a attend the Board of Regents meeting in based on the anticipation of no further request with the Joint Committee on Madison on Thursday and Friday, said budget cutbacks, despite the state's wor Finance for the surcharge by its Nov. that based on the experience of the first sened financial forecast for the biennium 10 deadline. -
PLAYNOTES Season: 43 Issue: 04
PLAYNOTES SEASON: 43 ISSUE: 04 PORTLANDSTAGE BACKGROUND INFORMATION The Theater of Maine INTERVIEWS & COMMENTARY www.portlandstage.org AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
Table of Contents
Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us. -
Lisa Mansell Cardiff, Wales Mav 2007
FORM OF FIX: TRANSATLANTIC SONORITY IN THE MINORITY Lisa Mansell Cardiff, Wales Mav 2007 UMI Number: U584943 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584943 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 For 25 centuries Western knowledge has tried to look upon the world. It has failed to understand that the world is not for beholding. It is for hearing [...]. Now we must learn to judge a society by its noise. (Jacques Attali} DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted in candidature fof any degree. Signed r?rrr?rr..>......................................... (candidate) Date STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree o f ....................... (insert MCh, Mfo MPhil, PhD etc, as appropriate) (candidate) D ateSigned .. (candidate) DateSigned STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources aite acknowledged by explicit references. Signed ... ..................................... (candidate) Date ... V .T ../.^ . STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. -
Zodiac: the Eco-Thriller Neal Stephenson
Zodiac: The Eco-thriller Neal Stephenson ABOUT THE AUTHOR Neal Stephenson issues from a clan of rootless, itinerant hard-science and engineering professors. He began his higher education as physics major, then switched to geography when it appeared that this would enable him to scam more free time on his university's mainframe computer. When he graduated and discovered, to his perplexity, that there were no jobs for inexperienced physicist-geographers, he began to look into alternative pursuits such as working on cars, agricultural labour and writing novels. His first novel, The Big U, was published in 1984 and vanished without trace. Zodiac: The Eco- thriller is his second novel. On first coming out in 1988 it quickly developed a cult following among water-pollution-control engineers and was enjoyed, though rarely bought, by many radical environmentalists. The highly successful Snow Crash was written between 1988 and 1991, as the author listened to a great deal of loud, relentless, depressing music. It was followed by the equally successful The Diamond Age. Most of his novels are available in Roc. Neal Stephenson lives in Seattle. SIGNET Published by the Penguin Group Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, England Penguin Books USA Inc., 375 Hudson Street, New York, New York 10014, USA Penguin Books Australia Ltd, Ringwood, Victoria, Australia Penguin Books Canada Ltd, 10 Alcom Avenue, Toronto, Ontario, Canada M4V 3B2 Penguin Books (NZ) Ltd, 182-190 Wairau Road, Auckland 10, New Zealand Penguin Books Ltd, Registered Offices: Harmondsworth, Middlesex, England First published in the USA by Bantam by arrangement with the Atlantic Monthly Press 1988 Pint published in Great Britain in Signet 1997 13579108642 Copyright O Neal Stephenson, 1988 All rights reserved 'Dirty Water' by Ed Cobb. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Raising pure hell a general theory of articulation, the syntax of structural overdetermination, and the sound of social movements Peterson II, Victor Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 RAISING PURE HELL a general theory of Articulation, the syntax of structural overdetermination, and the sound of social movements by Victor Peterson II dissertation presented for the degree of Doctor of Philosophy King’s College, London 2018 Acknowledgements Meaning is made, value taken. -
Doing Sound Slaten Dissertation Deposit
Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Whitney Slaten All rights reserved ABSTRACT Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten This dissertation ethnographically represents the work of three live sound engineers and the profession of live sound reinforcement engineering in the New York City metropolitan area. In addition to amplifying music to intelligible sound levels, these engineers also amplify music in ways that engage the sonic norms associated with the pertinent musical genres of jazz, rock and music theater. These sonic norms often overdetermine audience members' expectations for sound quality at concerts. In particular, these engineers also work to sonically and visually mask themselves and their equipment. Engineers use the term “transparency” to describe this mode of labor and the relative success of sound reproduction technologies. As a concept within the realm of sound reproduction technologies, transparency describes methods of reproducing sounds without coloring or obscuring the original quality. Transparency closely relates to “fidelity,” a concept that became prominent throughout the late nineteenth, twentieth, and twenty-first centuries to describe the success of sound reproduction equipment in making the quality of reproduced sound faithful to its original. The ethnography opens by framing the creative labor of live sound engineering through a process of “fidelity.” I argue that fidelity dynamically oscillates as struggle and satisfaction in live sound engineers’ theory of labor and resonates with their phenomenological encounters with sounds and social positions as laborers at concerts. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PODCAST RHETORICS INSIGHTS INTO PODCASTS AS PUBLIC PERSUASION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By MATTHEW VINCENT JACOBSON Norman, Oklahoma 2021 PODCAST RHETORICS INSIGHTS INTO PODCASTS AS PUBLIC PERSUASION A DISSERTATION APPROVED FOR THE DEPARTMENT OF ENGLISH BY THE COMMITTEE CONSISTING OF Dr. William Kurlinkus, Chair Dr. Bill Endres Dr. Justin Reedy Dr. Roxanne Mountford Dr. Sandra Tarabochia © Copyright by MATTHEW VINCENT JACOBSON 2021 All Rights Reserved. iv TABLE OF CONTENTS Acknowledgements . viii Abstract . xii Chapter 1: The Argument for Rhetorically Analyzing Podcasts . 1 I. Introduction . 2 II. Rhetorically Defining Podcasts . 5 III. A Call for Podcast Scholarship . 14 IV. Podcast Scholarship in Rhetoric and Writing Studies . 18 V. The Need to Rhetorically Analyze Podcast Rhetoric . 24 VI. Introducing Three Analytics of Podcasting: Technology, Sonic, and Conversational Rhetorics in a Public Argument Over Mask Wearing in The Joe Rogan Experience . 28 VII. Project Overview . 44 Chapter 2: The Technological Horizons of Podcast Persuasion . 45 Chapter 3: The Sounds of Podcast Rhetoric . 47 Chapter 4: Deliberation or Demagoguery? The Rhetoric of Podcast Conversations . 50 Chapter 2: The Technological Horizons of Podcast Persuasion . 53 I. Introduction . 54 II. Rhetorical Theories of Philosophy of Technology . 55 III. The Technological Rhetoric of Podcast Technologies . 64 A. The Rhetoric of Podcasting’s Regulatory Context in the U.S. and the Standing Reserve of Internet Audiences . .64 B. The Rhetoric of Production and Post-Production Tech . .72 v C. The Rhetoric of Distribution and “Listening” Tech . 98 D. -
Powers of Divergence Emphasises Its Potential for the Emergence of the New and for the Problematisation of the Limits of Musical Semiotics
ORPHEUS What does it mean to produce resemblance in the performance of written ORPHEUS music? Starting from how this question is commonly answered by the practice of interpretation in Western notated art music, this book proposes a move beyond commonly accepted codes, conventions, and territories of music performance. Appropriating reflections from post-structural philosophy, visual arts, and semiotics, and crucially based upon an artistic research project with a strong creative and practical component, it proposes a new approach to music performance. This approach is based on divergence, on the difference produced by intensifying Powers of the chasm between the symbolic aspect of music notation and the irreducible materiality of performance. Instead of regarding performance as reiteration, reconstruction, and reproduction of past musical works, Powers of Divergence emphasises its potential for the emergence of the new and for the problematisation of the limits of musical semiotics. Divergence Lucia D’Errico is a musician and artistic researcher. A research fellow at the Orpheus Institute (Ghent, Belgium), she has been part of the research project MusicExperiment21, exploring notions of experimentation in the performance of Western notated art music. An Experimental Approach She holds a PhD from KU Leuven (docARTES programme) and a master’s degree in English literature, and is also active as a guitarist, graphic artist, and video performer. to Music Performance P “‘Woe to those who do not have a problem,’ Gilles Deleuze exhorts his audience owers of Divergence during one of his seminars. And a ‘problem’ in this philosophical sense is not something to dispense with, a difficulty to resolve, an obstacle to eliminate; nor is it something one inherits ready-made. -
A Practical Approach to Their Economic and Social Impacts
Organisation for Economic Co-operation and Development DSTI/CDEP(2018)5 For Official Use English - Or. English 30 April 2018 DIRECTORATE FOR SCIENCE, TECHNOLOGY AND INNOVATION COMMITTEE ON DIGITAL ECONOMY POLICY ONLINE PLATFORMS: A PRACTICAL APPROACH TO THEIR ECONOMIC AND SOCIAL IMPACTS 16-18 May 2018 Delegates will find attached a draft in progress of the CDEP report on Online Platforms: A Practical Approach to Their Economic and Social Impacts. The report prepared with input from the CCP, MADE, and SPDE Secretariats, builds on the outline presented in November 2017 and the comments received on it. Delegates are invited to comment on this draft and to provide further directions to the Secretariat under Item 7 of the Draft Agenda of the CDEP meeting on 15-16 May 2018. Action Requested: The Committee is invited to discuss the draft and provide further input to finalise the report for the November meeting with a view to declassification. This document is a contribution to IOR 1.1.1.2.3 Assessing the benefits and issues arising from online platforms, of the 2017-2018 Programme of Work of the CDEP. It will also be a contribution to the Going Digital project under Pillar 2. Jeremy West, tel +33 1 45 24 17 51, [email protected] Anne Carblanc, tel +33 1 45 24 93 34, [email protected] Sarah Ferguson, tel +33 1 45 24 18 74, [email protected] JT03430998 This document, as well as any data and map included herein, are without prejudice to the status of or sovereignty over any territory, to the delimitation of international frontiers and boundaries and to the name of any territory, city or area. -
Captionmaker User Guide 4
User Guide CaptionMaker 8.5.0 User Guide 309515 June 2021 Copyrights and Trademark Notices Copyright © 2021 Telestream, LLC. All rights reserved worldwide. No part of this publication may be reproduced, transmitted, transcribed, altered, or translated into any languages without the written permission of Telestream. Information and specifications in this document are subject to change without notice and do not represent a commitment on the part of Telestream. Telestream. Telestream, CaptionMaker, Episode, Flip4Mac, FlipFactory, Flip Player, Gameshow, GraphicsFactory, Lightspeed, MetaFlip, Post Producer, ScreenFlow, Split-and- Stitch, Switch, Tempo, TrafficManager, Vantage, VOD Producer and Wirecast, are registered trademarks and Cricket, e-Captioning, iQ, iVMS, iVMS ASM, Inspector, MacCaption, Pipeline, Vidchecker, and Surveyor are trademarks of Telestream, LLC. All other trademarks are the property of their respective owners. Apple. QuickTime, MacOS X, and Safari are trademarks of Apple, Inc. Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple, Inc. MainConcept. MainConcept is a registered trademark of MainConcept LLC and MainConcept AG. Copyright 2004 MainConcept Multimedia Technologies. Microsoft. Microsoft, Windows NT|2000|XP|XP Professional|Server 2003|Server 2008 |Server 2012, Windows 7, Windows 8, Media Player, Media Encoder, .Net, Internet Explorer, SQL Server 2005|2008|Server 2012, and Windows Media Technologies are trademarks of Microsoft Corporation. Manzanita. Manzanita is a registered trademark of Manzanita Systems, Inc. Adobe. Adobe® HTTP Dynamic Streaming Copyright © 2014 of Adobe Systems All right reserved. Avid. Portions of this product Copyright 2012 Avid Technology, Inc. VoiceAge. This product is manufactured by Telestream under license from VoiceAge Corporation. x.264 LLC. The product is manufactured by Telestream under license from x.264 LLC.