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Book
xxii, 328 pages, 8 unnumbered pages of plates : illustrations ; 25 cm
50 years ago, the friendly rivalry between musicians and turned 1965 into the most ground-breaking year in music history ever. It was the year rock and roll evolved into the premier art form of its time and accelerated the drive for personal freedom throughout the Western world. The feedback loop between the artists and their times ignited an unprecedented explosion of creativity. The Beatles made their first artistic statement with Rubber Soul and performed at Shea Stadium, the first rock concert to be held in a major American stadium. Bob Dylan released "Like a Rolling Stone" - the quintessential anthem of the year - and went electric at the Newport Folk Festival. The Rolling Stones' hit song "Satisfaction" catapulted the band to world-wide success. Fashion designer Mary Qaunt raised the hemlines of her skirts to above the knee, introducing the iconic miniskirt. This was not only the year of rock as new genres such as funk and psychedelia were born. Soul music became a prime force of desegregation as Motown crossed out of the R&B charts on to the top of the Billboard Top 100. Country music reached new heights with Nashville and the Bakersfield sound and competition between musicians coincided with seismic cultural shifts wrought by the Civil Rights Movement, psychedelics, and Vietnam. In 1965, Andrew Grant Jackson combines fascinating and often surprising personal stories with a panoramic historical narrative.
(source: Nielsen Book Data)
50 years ago, the friendly rivalry between musicians and turned 1965 into the most ground-breaking year in music history ever. It was the year rock and roll evolved into the premier art form of its time and accelerated the drive for personal freedom throughout the Western world. The feedback loop between the artists and their times ignited an unprecedented explosion of creativity. The Beatles made their first artistic statement with Rubber Soul and performed at Shea Stadium, the first rock concert to be held in a major American stadium. Bob Dylan released "Like a Rolling Stone" - the quintessential anthem of the year - and went electric at the Newport Folk Festival. The Rolling Stones' hit song "Satisfaction" catapulted the band to world-wide success. Fashion designer Mary Qaunt raised the hemlines of her skirts to above the knee, introducing the iconic miniskirt. This was not only the year of rock as new genres such as funk and psychedelia were born. Soul music became a prime force of desegregation as Motown crossed out of the R&B charts on to the top of the Billboard Top 100. Country music reached new heights with Nashville and the Bakersfield sound and competition between musicians coincided with seismic cultural shifts wrought by the Civil Rights Movement, psychedelics, and Vietnam. In 1965, Andrew Grant Jackson combines fascinating and often surprising personal stories with a panoramic historical narrative.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3470 .J327 2015 Unknown
Book
524 p. : col. ill., music ; 22 cm.
  • L'oeuvre à l'épreuve du sublime -- Charles Le Brun, peintre du sublime ? -- Sur quelques tableaux sacrés des années 1650 -- Performance de l'oratorio et inscriptions du sublime. Il Ritorno di Tobia de Haydn (1775-1784) -- Une épiphanie du sublime chez Mozart. À propos de l'Et' incarnatus de la messe en ut mineur, KV 427 -- Sublime et colère divine dans la musique religieuse française du XVIIIe siècle. Une musique démesurée? -- Sublime et merveilleux dans les pastorales de Noël tchèques des XVIIe et XVIIIe siècles -- Le sublime en situation textes mis en musique -- La prière dans les livrets de Haendel. Quelques réflexions sur le sublime dans les Chandos Anthems -- Sublime néoclassique et sublime rhétorique. La réception musicale des Odes et mélodies spirituelles (1757) de Christian Fürchtegott Gellert -- Les airs profanes, voie paradoxale vers le sublime biblique. De la rhétorique à la sémiotique -- Le sublime en acte : discours et contextes -- Les grands mays de Notre-Dame de Paris (1630-1707), au seuil de la notion de sublime -- L'église néoclassique. Une écriture architecturale du sublime en France dans la seconde moitié du XVIIIe siècle ? -- Le sublime et les cérémonies romaines de la messe en France à la fin du XVIIe siècle -- Le sublime parmi les arts -- "Les ornements de l'art". Marc-Antoine Charpentier et la tradition du sublime harmonique -- Le sublime de l'harmonie imitative. Autour des motets de Mondonville -- Un temple des muses. La révélation divine et le sublime au regard de la tradition monastique -- Théories et théoriciens penser la norme -- Idéologie et esthétique du sublime dans la musique religieuse en Angleterre au XVIIIe siècle -- Contexte et structures de la perception du sublime et de l'enflure dans l'Allemagne des années 1730 : le cas de la musique religieuse -- Du canon au sublime. Normes et interstices dans les écrits sur la musique en France au XVIIe siècle -- Penser le sublime -- Le sublime, une antimystique ? -- Le sublime, du père René Rapin à l'abbé Jean-Baptiste Du Bos. Une quête du plaisir littéraire -- Le sublime selon Kant et Schiller et la théorie musicale de Michaelis -- Résister à l'inhumain. La dynamique du sublime musical chez Herder.
"Fruit d'une réflexion commune menée par des chercheurs de différents pays, au croisement de différentes disciplines - musique, beaux-arts, littérature, philosophie, ce livre explore des pistes de réflexion stimulantes autour du sublime. La mise en lumière du sublime dans la musique sacrée des XVIIe et XVIIIe siècles se veut le moyen d'offrir une plus grande visibilité à ce qui est jusqu'à présent resté très marginal dans la recherche musicologique française. En proposant des réflexions qui articulent notions théoriques, objets artistiques et contextualisations historiques, l'ouvrage offre des clés pour penser une notion esthétique de l'ordre de l'expérience transcendante."--P. [4] of cover.
  • L'oeuvre à l'épreuve du sublime -- Charles Le Brun, peintre du sublime ? -- Sur quelques tableaux sacrés des années 1650 -- Performance de l'oratorio et inscriptions du sublime. Il Ritorno di Tobia de Haydn (1775-1784) -- Une épiphanie du sublime chez Mozart. À propos de l'Et' incarnatus de la messe en ut mineur, KV 427 -- Sublime et colère divine dans la musique religieuse française du XVIIIe siècle. Une musique démesurée? -- Sublime et merveilleux dans les pastorales de Noël tchèques des XVIIe et XVIIIe siècles -- Le sublime en situation textes mis en musique -- La prière dans les livrets de Haendel. Quelques réflexions sur le sublime dans les Chandos Anthems -- Sublime néoclassique et sublime rhétorique. La réception musicale des Odes et mélodies spirituelles (1757) de Christian Fürchtegott Gellert -- Les airs profanes, voie paradoxale vers le sublime biblique. De la rhétorique à la sémiotique -- Le sublime en acte : discours et contextes -- Les grands mays de Notre-Dame de Paris (1630-1707), au seuil de la notion de sublime -- L'église néoclassique. Une écriture architecturale du sublime en France dans la seconde moitié du XVIIIe siècle ? -- Le sublime et les cérémonies romaines de la messe en France à la fin du XVIIe siècle -- Le sublime parmi les arts -- "Les ornements de l'art". Marc-Antoine Charpentier et la tradition du sublime harmonique -- Le sublime de l'harmonie imitative. Autour des motets de Mondonville -- Un temple des muses. La révélation divine et le sublime au regard de la tradition monastique -- Théories et théoriciens penser la norme -- Idéologie et esthétique du sublime dans la musique religieuse en Angleterre au XVIIIe siècle -- Contexte et structures de la perception du sublime et de l'enflure dans l'Allemagne des années 1730 : le cas de la musique religieuse -- Du canon au sublime. Normes et interstices dans les écrits sur la musique en France au XVIIe siècle -- Penser le sublime -- Le sublime, une antimystique ? -- Le sublime, du père René Rapin à l'abbé Jean-Baptiste Du Bos. Une quête du plaisir littéraire -- Le sublime selon Kant et Schiller et la théorie musicale de Michaelis -- Résister à l'inhumain. La dynamique du sublime musical chez Herder.
"Fruit d'une réflexion commune menée par des chercheurs de différents pays, au croisement de différentes disciplines - musique, beaux-arts, littérature, philosophie, ce livre explore des pistes de réflexion stimulantes autour du sublime. La mise en lumière du sublime dans la musique sacrée des XVIIe et XVIIIe siècles se veut le moyen d'offrir une plus grande visibilité à ce qui est jusqu'à présent resté très marginal dans la recherche musicologique française. En proposant des réflexions qui articulent notions théoriques, objets artistiques et contextualisations historiques, l'ouvrage offre des clés pour penser une notion esthétique de l'ordre de l'expérience transcendante."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML240 .A17 2015 Unavailable On order Request
Book
xv, 364 pages : illustrations ; 23 cm.
AC/DC FAQ spans AC/DC's 40-year career, starting from the band's inception in 1973. This book covers everything from their early days in Australia to their first tour of England and the United States. It also includes personal experiences, stories, conversations, and interviews by author Susan Masino, who has known the band since 1977. Featuring 37 chapters, AC/DC FAQ chronicles the personal history of each of the band members, all their albums, tours, and various anecdotes. Rebounding from the tragic loss of their singer Bon Scott in 1980, AC/DC hired Brian Johnson and went on to record Back in Black, which is now one of the top five biggest-selling albums in music history. Taking a seven-year break after their album Stiff Upper Lip, the band came back in the fall of 2008 with a new album, Black Ice, and a tour that ran from 2008 through the summer of 2010. Once again breaking records, AC/DC saw the Black Ice Tour become the second-highest-grossing tour in history. True rockers from the very beginning, AC/DC will continue to be heralded as one of the greatest rock and roll bands of all time.
(source: Nielsen Book Data)
AC/DC FAQ spans AC/DC's 40-year career, starting from the band's inception in 1973. This book covers everything from their early days in Australia to their first tour of England and the United States. It also includes personal experiences, stories, conversations, and interviews by author Susan Masino, who has known the band since 1977. Featuring 37 chapters, AC/DC FAQ chronicles the personal history of each of the band members, all their albums, tours, and various anecdotes. Rebounding from the tragic loss of their singer Bon Scott in 1980, AC/DC hired Brian Johnson and went on to record Back in Black, which is now one of the top five biggest-selling albums in music history. Taking a seven-year break after their album Stiff Upper Lip, the band came back in the fall of 2008 with a new album, Black Ice, and a tour that ran from 2008 through the summer of 2010. Once again breaking records, AC/DC saw the Black Ice Tour become the second-highest-grossing tour in history. True rockers from the very beginning, AC/DC will continue to be heralded as one of the greatest rock and roll bands of all time.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML421 .A28 M36 2015 Unknown
Book
xxii, 289 pages : illustrations, music ; 25 cm
  • List of Figures List of Tables Acknowledgements Preface, Pamela Burnard (University of Cambridge, UK) and Elizabeth Haddon (University of York, UK) Part 1 1. Introduction: The Imperative of Diverse Musical Creativities in Academia and Industry, Pamela Burnard (University of Cambridge, UK) and Elizabeth Haddon (University of York, UK) Part 2: Experiments in Learning 2. On the Other Side of the Divide: Making Sense of Student Stories of Creativities in Music, Dawn Bennett (University of Curtin, Australia), Anna Reid (Sydney Conservatorium of Music, Australia) and Peter Petocz (Macquarie University, Australia) 3. Creativities in Popular Songwriting Curricula: Teaching or Learning? Joe Bennett (Bath Spa University, UK) 4. Killing the Muse: Listening Creativities and the Journey to Creative Mastery, Donna Weston (Queensland Conservatorium, Griffith University, Australia) and Tim Bryon (Queensland Conservatorium, Griffith University, Australia) 5. Permission to Play: Fostering Enterprise Creativities in Music Technology through Extracurricular Interdisciplinary Collaboration, Elizabeth Dobson (University of Huddersfield, UK) Part 3: Experiments in Teaching 6. Activating Improvisational Creativity in the Performance of 'World' and 'Popular' Music, Sue Miller (Anglia Ruskin University, UK/Cuba) 7. The Inner Voice: Activating Intuitive and Improvisational Creativities, Esmee Olthuis (Conservatory of Utrecht, The Netherlands) 8. Activating Empathic Creativity in Musicking through University-Community Partnerships, Susan Helfter (University of Southern California, US) and Beatriz Ilari (University of Southern California, US) 9. Activating Communal Creativities for Redesigning Higher Education Curriculum, Pedagogy and Assessment: Drawing on Intercultural Experience, Lindy Joubert (University of Melbourne, Australia) and Violeta Schubert (University of Melbourne, Australia) 10. Being a Composer in an Age of Uncertainties, Risks and Diffuse Creativity: Learning, Career and Creativities, Antonio Angelo Vasconcelos (Institute of Setubal, Portugal) Part 4: Engaging Technologies 11. Technology as a Vehicle (Tool and Practice) for Developing Diverse Creativities, Andrew King (University of Hull, UK) 12. Activating Digital Creativities in Higher Music Education, Leah Kardos (Kingston University, UK) 13. Creative Teaching with Performing Arts Students: Developing Career Creativities through the Use of ePortfolios for Career Awareness and Resilience, Jennifer Rowley (University of Sydney, Australia), Dawn Bennett (University of Curtin, Australia), Peter Dunbar-Hall (University of Sydney, Australia) 14. Conclusion: Musical Creativities and Entrepreneurship in Higher Music Education: Activating New Possibilities, Elizabeth Haddon (University of York, UK) and Pam Burnard (University of Cambridge, UK) Index.
  • (source: Nielsen Book Data)
Activating Diverse Musical Creativities analyses the ways in which music programmes in higher education can activate and foster diverse musical creativities. It also demonstrates the relationship between musical creativities and entrepreneurship in higher education teaching and learning. These issues are of vital significance to contemporary educational practice and training in both university and conservatoire contexts, particularly when considered alongside the growing importance of entrepreneurship, defined here as a type of creativity, for successful musicians working in the 21st century creative and cultural industries. International contributors address a broad spectrum of musical creativities in higher education, such as improvisational creativity, empathic creativity and leadership creativity, demonstrating the transformative possibilities of embedding these within higher music education teaching and learning. The chapters explore the active practice of musical creativities in teaching and learning and recognize their mutual dependency. The contributors consider philosophical and practical concerns in their work on teaching for creativity in higher music education and focus on practices using imaginative approaches in order to make learning more interesting, effective and relevant.
(source: Nielsen Book Data)
  • List of Figures List of Tables Acknowledgements Preface, Pamela Burnard (University of Cambridge, UK) and Elizabeth Haddon (University of York, UK) Part 1 1. Introduction: The Imperative of Diverse Musical Creativities in Academia and Industry, Pamela Burnard (University of Cambridge, UK) and Elizabeth Haddon (University of York, UK) Part 2: Experiments in Learning 2. On the Other Side of the Divide: Making Sense of Student Stories of Creativities in Music, Dawn Bennett (University of Curtin, Australia), Anna Reid (Sydney Conservatorium of Music, Australia) and Peter Petocz (Macquarie University, Australia) 3. Creativities in Popular Songwriting Curricula: Teaching or Learning? Joe Bennett (Bath Spa University, UK) 4. Killing the Muse: Listening Creativities and the Journey to Creative Mastery, Donna Weston (Queensland Conservatorium, Griffith University, Australia) and Tim Bryon (Queensland Conservatorium, Griffith University, Australia) 5. Permission to Play: Fostering Enterprise Creativities in Music Technology through Extracurricular Interdisciplinary Collaboration, Elizabeth Dobson (University of Huddersfield, UK) Part 3: Experiments in Teaching 6. Activating Improvisational Creativity in the Performance of 'World' and 'Popular' Music, Sue Miller (Anglia Ruskin University, UK/Cuba) 7. The Inner Voice: Activating Intuitive and Improvisational Creativities, Esmee Olthuis (Conservatory of Utrecht, The Netherlands) 8. Activating Empathic Creativity in Musicking through University-Community Partnerships, Susan Helfter (University of Southern California, US) and Beatriz Ilari (University of Southern California, US) 9. Activating Communal Creativities for Redesigning Higher Education Curriculum, Pedagogy and Assessment: Drawing on Intercultural Experience, Lindy Joubert (University of Melbourne, Australia) and Violeta Schubert (University of Melbourne, Australia) 10. Being a Composer in an Age of Uncertainties, Risks and Diffuse Creativity: Learning, Career and Creativities, Antonio Angelo Vasconcelos (Institute of Setubal, Portugal) Part 4: Engaging Technologies 11. Technology as a Vehicle (Tool and Practice) for Developing Diverse Creativities, Andrew King (University of Hull, UK) 12. Activating Digital Creativities in Higher Music Education, Leah Kardos (Kingston University, UK) 13. Creative Teaching with Performing Arts Students: Developing Career Creativities through the Use of ePortfolios for Career Awareness and Resilience, Jennifer Rowley (University of Sydney, Australia), Dawn Bennett (University of Curtin, Australia), Peter Dunbar-Hall (University of Sydney, Australia) 14. Conclusion: Musical Creativities and Entrepreneurship in Higher Music Education: Activating New Possibilities, Elizabeth Haddon (University of York, UK) and Pam Burnard (University of Cambridge, UK) Index.
  • (source: Nielsen Book Data)
Activating Diverse Musical Creativities analyses the ways in which music programmes in higher education can activate and foster diverse musical creativities. It also demonstrates the relationship between musical creativities and entrepreneurship in higher education teaching and learning. These issues are of vital significance to contemporary educational practice and training in both university and conservatoire contexts, particularly when considered alongside the growing importance of entrepreneurship, defined here as a type of creativity, for successful musicians working in the 21st century creative and cultural industries. International contributors address a broad spectrum of musical creativities in higher education, such as improvisational creativity, empathic creativity and leadership creativity, demonstrating the transformative possibilities of embedding these within higher music education teaching and learning. The chapters explore the active practice of musical creativities in teaching and learning and recognize their mutual dependency. The contributors consider philosophical and practical concerns in their work on teaching for creativity in higher music education and focus on practices using imaginative approaches in order to make learning more interesting, effective and relevant.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
MT18 .A35 2015 Unknown
Book
viii, 297 pages : illustrations ; 24 cm.
  • Histories of jazz in France
  • Hugues Panassié's supernatural swing : criticism, politics and the iconic jazz recording
  • Jazz between art and entertainment : André Hodeir and Thelonious Monk
  • Cool going cold : Miles Davis and Ascenseur pour l'échafaud
  • Barney Wilen : phantoms and freedom
  • Looking for something we don't yet know : towards a French jazz
  • A good jazzman is a dead jazzman.
  • Histories of jazz in France
  • Hugues Panassié's supernatural swing : criticism, politics and the iconic jazz recording
  • Jazz between art and entertainment : André Hodeir and Thelonious Monk
  • Cool going cold : Miles Davis and Ascenseur pour l'échafaud
  • Barney Wilen : phantoms and freedom
  • Looking for something we don't yet know : towards a French jazz
  • A good jazzman is a dead jazzman.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3509 .F7 P47 2015 Unknown
Book
254 p. ; 21 cm.
  • Connaître la valeur de la musique classique -- Un patrimoine qui prend vie -- La musique des formes -- La musique des grands récits -- Une musique qui se conquiert -- La musique classique et la mythologie -- Reconnaître la musique classique à sa juste valeur -- Quelle politique publique pour la musique classique ? -- La musique dans l'éducation artistique -- La musique classique dans le monde d'aujourd'hui -- Une plus juste place pour la musique classique.
"Et si on écoutait Beethoven comme un maître de vie ? Et si, laissant de côté préjugés et stéréotypes, on considérait la musique classique autrement ? Fort d'une histoire personnelle où la musique a donné du sel et du sens à sa vie, l'auteur évoque les bienfaits et les plaisirs apportés par les oeuvres de Bach, Mozart, Chopin, Stravinski, Thierry Escaich ou Nicolas Bacri à celui qui les écoute ou qui les joue. Il invite à découvrir la variété infinie des formes musicales, les subtilités de l'art de l'interprétation, la manière dont les grands récits pénètrent en nos âmes. Il explore les facettes de ce patrimoine unique, né en Europe et désormais universel, et ses passerelles avec les mythes de l'humanité. Dans une société qui privilégie l'apparence, le plaisir immédiat et le zapping, cette musique, qui demande attention et initiation, est en danger. N'est-il pas temps de lui rendre la place qui lui revient, au coeur de [éducation, de la vie culturelle et de la cité ?"--P. [4] of cover.
  • Connaître la valeur de la musique classique -- Un patrimoine qui prend vie -- La musique des formes -- La musique des grands récits -- Une musique qui se conquiert -- La musique classique et la mythologie -- Reconnaître la musique classique à sa juste valeur -- Quelle politique publique pour la musique classique ? -- La musique dans l'éducation artistique -- La musique classique dans le monde d'aujourd'hui -- Une plus juste place pour la musique classique.
"Et si on écoutait Beethoven comme un maître de vie ? Et si, laissant de côté préjugés et stéréotypes, on considérait la musique classique autrement ? Fort d'une histoire personnelle où la musique a donné du sel et du sens à sa vie, l'auteur évoque les bienfaits et les plaisirs apportés par les oeuvres de Bach, Mozart, Chopin, Stravinski, Thierry Escaich ou Nicolas Bacri à celui qui les écoute ou qui les joue. Il invite à découvrir la variété infinie des formes musicales, les subtilités de l'art de l'interprétation, la manière dont les grands récits pénètrent en nos âmes. Il explore les facettes de ce patrimoine unique, né en Europe et désormais universel, et ses passerelles avec les mythes de l'humanité. Dans une société qui privilégie l'apparence, le plaisir immédiat et le zapping, cette musique, qui demande attention et initiation, est en danger. N'est-il pas temps de lui rendre la place qui lui revient, au coeur de [éducation, de la vie culturelle et de la cité ?"--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3916 .O76 2015 Unavailable On order Request
Book
50 pages ; 22 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
(no call number) Unavailable In process Request
Book
190 p. ; 19 cm.
  • Prélude à l'ivresse -- Vers le rêve (1872-1892 Des premières oeuvres à la Sonate n° 1) De l'art comme religion (Danses) -- Vers le charme (1892-1896 Sonates n° 1 et n° 2) De Chopin à lui-même (Études) -- Vers le souffle (1896-1902 Sonates n° 2 à 4) De l'aphorisme musical (Préludes) -- Vers l'extase (1902-1905 Sonates n° 4 à 5) De la surabondance (Poèmes) -- Vers la plénitude (1905-1909 Sonates n° 5 à 6) De l'ivresse théorique (Symphonies) -- Vers l'infini (1909-1913 Sonates n° 6à 10) Du mysticisme musical (Sonates) -- Vers railleurs (1913-1915 De la Sonate n° 10 aux oeuvres ultimes) De l'art total -- Au-delà de la flamme.
"L'oeuvre de Scriabine est l'une des plus originales de toute la musique ; totalement révolutionnaire, au même titre que celles de Schônberg, Bart6k, Prokofiev ou Stravinski, bousculant de manière irréversible la tonalité, inventant comme Chopin ses propres formes, développant une esthétique de la miniature en droite ligne des tentatives du dernier Liszt, exploitant des horizons harmoniques et des espaces sonores inédits dont Messiaen se souviendra, pour ne rien dire de Berg, Szymanowski ou de compositeurs plus proches de nous, tels Stockhausen ou Cage, Scriabine fait poser à la musique des questions qu'elle ne se posait pas avant lui. Créateur à la charnière du bousculement des mondes entre xix' et xx' siècles, partagé entre romantisme total et modernisme radical, mystique absolu et prophète d'un nouveau monde, Scriabine a fait de l'art une sorte de religion et d'initiation magique appelées à transformer la vie. Cent ans après sa mort, il est plus que jamais notre contemporain. Comme tous les volumes de la collection "Classica", ce Scriabine est enrichi d'un index, de repères bibliographiques et d'une discographie."--P. [4] of cover.
  • Prélude à l'ivresse -- Vers le rêve (1872-1892 Des premières oeuvres à la Sonate n° 1) De l'art comme religion (Danses) -- Vers le charme (1892-1896 Sonates n° 1 et n° 2) De Chopin à lui-même (Études) -- Vers le souffle (1896-1902 Sonates n° 2 à 4) De l'aphorisme musical (Préludes) -- Vers l'extase (1902-1905 Sonates n° 4 à 5) De la surabondance (Poèmes) -- Vers la plénitude (1905-1909 Sonates n° 5 à 6) De l'ivresse théorique (Symphonies) -- Vers l'infini (1909-1913 Sonates n° 6à 10) Du mysticisme musical (Sonates) -- Vers railleurs (1913-1915 De la Sonate n° 10 aux oeuvres ultimes) De l'art total -- Au-delà de la flamme.
"L'oeuvre de Scriabine est l'une des plus originales de toute la musique ; totalement révolutionnaire, au même titre que celles de Schônberg, Bart6k, Prokofiev ou Stravinski, bousculant de manière irréversible la tonalité, inventant comme Chopin ses propres formes, développant une esthétique de la miniature en droite ligne des tentatives du dernier Liszt, exploitant des horizons harmoniques et des espaces sonores inédits dont Messiaen se souviendra, pour ne rien dire de Berg, Szymanowski ou de compositeurs plus proches de nous, tels Stockhausen ou Cage, Scriabine fait poser à la musique des questions qu'elle ne se posait pas avant lui. Créateur à la charnière du bousculement des mondes entre xix' et xx' siècles, partagé entre romantisme total et modernisme radical, mystique absolu et prophète d'un nouveau monde, Scriabine a fait de l'art une sorte de religion et d'initiation magique appelées à transformer la vie. Cent ans après sa mort, il est plus que jamais notre contemporain. Comme tous les volumes de la collection "Classica", ce Scriabine est enrichi d'un index, de repères bibliographiques et d'une discographie."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Miniature
ML410 .S5988 C59 2015 M Unknown
Book
328 p. : ill., music ; 23 cm.
  • Interpréter la musique du XXe siècle -- L'interprète face aux innovations de la création -- Nouveaux matériaux et nouvelles techniques d'exécution -- La notation en question -- Nouvelles pratiques du concert -- L'interprète et l'électronique -- L'interprète acteur de la création -- Transmission et diffusion du répertoire -- L'interprète investi dans la création -- Questions d'interprétation -- L'interprète analyste -- Analyser l'interprétation -- L'analyse de l'interprétation : un changement de paradigme -- Les performances studies -- L'énoncé musical -- L'acte d'énonciation musicale -- L'enregistrement comme source primaire -- La littérature d'analyses d'interprétations enregistrées -- Les outils informatiques pour l'analyse de l'interprétation -- Les premières utilisations de l'ordinateur pour l'analyse -- Les représentations en informatique musicale -- Les descripteurs audio : nouvelles représentations pour l'analyse -- Méthodologies d'analyse de l'interprétation -- Analyse de l'interprétation des dix pièces pour quintette à vent de gyôrgy ligeti -- Les dix pièces pour quintette à vent de gyôrgy ligeti -- Aspects contextuels et esthétiques -- Éléments d'analyse des Dix pièces -- Analyse de dix interprétations enregistrées des dix pièces -- Le corpus d'enregistrements -- Caractéristiques globales des interprétations -- Analyse de l'interprétation pièce par pièce -- Synthèse de l'analyse.
"La musique savante du XXe siècle a réinventé ses matériaux, ses catégories, ses langages, sa notation, ses techniques, ses formes et ses pratiques du concert. Qu'il soit soliste ou membre d'un ensemble, l'interprète est en prise directe avec la création. La projection du musicien dans une oeuvre contemporaine est donc d'une toute autre nature que celle de l'interprète du "grand répertoire". L'objectif de cet ouvrage est de s'interroger sur les conséquences de ces bouleversements pour l'interprète et sur la façon dont la musicologie peut rendre compte de l'interprétation de ce répertoire. Il s'inscrit dans le champ des Performance Studies qui, depuis les années 1990, a initié un changement de paradigme en musicologie qui invite à une nouvelle réflexion sur l'art musical, interroge à nouveaux frais le concept d'oeuvre et redonne à l'interprète sa place dans la création. Ce livre s'est donné pour ambition d'examiner les théories et les méthodes de l'étude de la performance tout en proposant des modalités d'utilisation d'outils informatiques de visualisation et d'extraction de descripteurs pour analyser l'interprétation. La dernière partie est consacrée à une analyse comparative assistée par ordinateur d'interprétations enregistrées des Dix pièces pour quintette à vent de Gybrgy Ligeti. Les résultats obtenus ont démontré que la créativité des interprètes s'exerce pleinement avec une partition précisément notée et particulièrement virtuose. Ils ont permis de dégager les variables d'interprétation spécifiques à cette oeuvre et de faire émerger à la fois des singularités et des convergences parmi les interprètes quant à la conduite du temps musical et à l'expressivité."--P. [4] of cover.
  • Interpréter la musique du XXe siècle -- L'interprète face aux innovations de la création -- Nouveaux matériaux et nouvelles techniques d'exécution -- La notation en question -- Nouvelles pratiques du concert -- L'interprète et l'électronique -- L'interprète acteur de la création -- Transmission et diffusion du répertoire -- L'interprète investi dans la création -- Questions d'interprétation -- L'interprète analyste -- Analyser l'interprétation -- L'analyse de l'interprétation : un changement de paradigme -- Les performances studies -- L'énoncé musical -- L'acte d'énonciation musicale -- L'enregistrement comme source primaire -- La littérature d'analyses d'interprétations enregistrées -- Les outils informatiques pour l'analyse de l'interprétation -- Les premières utilisations de l'ordinateur pour l'analyse -- Les représentations en informatique musicale -- Les descripteurs audio : nouvelles représentations pour l'analyse -- Méthodologies d'analyse de l'interprétation -- Analyse de l'interprétation des dix pièces pour quintette à vent de gyôrgy ligeti -- Les dix pièces pour quintette à vent de gyôrgy ligeti -- Aspects contextuels et esthétiques -- Éléments d'analyse des Dix pièces -- Analyse de dix interprétations enregistrées des dix pièces -- Le corpus d'enregistrements -- Caractéristiques globales des interprétations -- Analyse de l'interprétation pièce par pièce -- Synthèse de l'analyse.
"La musique savante du XXe siècle a réinventé ses matériaux, ses catégories, ses langages, sa notation, ses techniques, ses formes et ses pratiques du concert. Qu'il soit soliste ou membre d'un ensemble, l'interprète est en prise directe avec la création. La projection du musicien dans une oeuvre contemporaine est donc d'une toute autre nature que celle de l'interprète du "grand répertoire". L'objectif de cet ouvrage est de s'interroger sur les conséquences de ces bouleversements pour l'interprète et sur la façon dont la musicologie peut rendre compte de l'interprétation de ce répertoire. Il s'inscrit dans le champ des Performance Studies qui, depuis les années 1990, a initié un changement de paradigme en musicologie qui invite à une nouvelle réflexion sur l'art musical, interroge à nouveaux frais le concept d'oeuvre et redonne à l'interprète sa place dans la création. Ce livre s'est donné pour ambition d'examiner les théories et les méthodes de l'étude de la performance tout en proposant des modalités d'utilisation d'outils informatiques de visualisation et d'extraction de descripteurs pour analyser l'interprétation. La dernière partie est consacrée à une analyse comparative assistée par ordinateur d'interprétations enregistrées des Dix pièces pour quintette à vent de Gybrgy Ligeti. Les résultats obtenus ont démontré que la créativité des interprètes s'exerce pleinement avec une partition précisément notée et particulièrement virtuose. Ils ont permis de dégager les variables d'interprétation spécifiques à cette oeuvre et de faire émerger à la fois des singularités et des convergences parmi les interprètes quant à la conduite du temps musical et à l'expressivité."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .L645 L35 2015 Unavailable In process Request
Book
172 pages : illustrations ; 24 cm.
  • 1. Introduction Part I: Contextual Perspectives 2. Transtextuality: Preexisting and Original Music 3. Marketing: Music and Products 4. Settings: Television, Web, and Stores Part II: Cotextual Perspectives 5. Musical Signification 6. Musical Structures 7. Musical Functions 8. Conclusion.
  • (source: Nielsen Book Data)
The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music 'outside' the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjaer sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.
(source: Nielsen Book Data)
  • 1. Introduction Part I: Contextual Perspectives 2. Transtextuality: Preexisting and Original Music 3. Marketing: Music and Products 4. Settings: Television, Web, and Stores Part II: Cotextual Perspectives 5. Musical Signification 6. Musical Structures 7. Musical Functions 8. Conclusion.
  • (source: Nielsen Book Data)
The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music 'outside' the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjaer sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3790 .G676 2015 Unknown
Book
352 p. : ill. (some col.), music ; 23 cm.
  • Introduction / Alessandro Arbo -- Pour une écoute visionnaire -- Au-delà de l'imaginaire de la musique écrite -- Écouter avec les images -- Un bruit assourdissant de musique métallique. La guitare électrique comme modèle -- Deux Passages pour Fausto Romitelli -- Vers le spectralisme (et au-delà) -- Le son mixte dans les premières oeuvres de Fausto Romitelli -- Nell'Alto dei Giorni Immobili : une analyse esthésique -- Reconstruction et interprétation de Golfi d'ombra (1993-2012) -- À propos de l'écriture mélodique dans ENTRANCE de Fausto Romitelli -- Pour une esquisse morphologique : une introduction à Lost de Fausto Romitelli -- Pour une analyse granulaire de Chorus de Fausto Romitelli -- Professor bad trip, audiodrome, an index of metals -- L'"elettronica" dans l'oeuvre de Romitelli. Professor Bad Trip, Audiodrome et An Index ofMetals -- Répétition et déformation chez Fausto Romitelli. Notes sur Dead City Radio : Audiodrome -- Industrial noisy dust : la fonction du low-fi dans An Index of Metals de Fausto Romitelli -- La construction de la tension temporelle dans l'expérience audiovisuelle de An Index of Metals.
"L'émergence des qualités esthétiques de la musique de Fausto Romitelli une musique qui se plaît au paroxysme et à l'exploration des seuils perceptifs, qui ambitionne de tordre l'espace "en mille anamorphoses" - dépend dans une large mesure du formidable répertoire de gestes instrumentaux et de références symboliques qu'elle met en oeuvre. Pour comprendre ses créations, pour expliquer l'impact émotionnel qu'elles peuvent avoir sur l'auditeur, il convient alors de se concentrer sur leur fonctionnement effectif, en prenant en compte la finesse d'une écriture qui a su intégrer de surprenants matériaux hétéroclites, ainsi que des modes de jeu particuliers, bouleversant nos habitudes d'écoute. C'est ce qu'ont cherché à faire les auteurs des textes réunis dans ce volume, qui entend jeter une lumière nouvelle sur la manière dont ce compositeur de talent a greffé sur les techniques spectrales de puissantes stratégies de saturation, déformation et dégradation de la matière sonore, au sein d'une création musicale qui semble définitivement brouiller les limites entre culture "savante" et "populaire"."--P. [4] of cover.
  • Introduction / Alessandro Arbo -- Pour une écoute visionnaire -- Au-delà de l'imaginaire de la musique écrite -- Écouter avec les images -- Un bruit assourdissant de musique métallique. La guitare électrique comme modèle -- Deux Passages pour Fausto Romitelli -- Vers le spectralisme (et au-delà) -- Le son mixte dans les premières oeuvres de Fausto Romitelli -- Nell'Alto dei Giorni Immobili : une analyse esthésique -- Reconstruction et interprétation de Golfi d'ombra (1993-2012) -- À propos de l'écriture mélodique dans ENTRANCE de Fausto Romitelli -- Pour une esquisse morphologique : une introduction à Lost de Fausto Romitelli -- Pour une analyse granulaire de Chorus de Fausto Romitelli -- Professor bad trip, audiodrome, an index of metals -- L'"elettronica" dans l'oeuvre de Romitelli. Professor Bad Trip, Audiodrome et An Index ofMetals -- Répétition et déformation chez Fausto Romitelli. Notes sur Dead City Radio : Audiodrome -- Industrial noisy dust : la fonction du low-fi dans An Index of Metals de Fausto Romitelli -- La construction de la tension temporelle dans l'expérience audiovisuelle de An Index of Metals.
"L'émergence des qualités esthétiques de la musique de Fausto Romitelli une musique qui se plaît au paroxysme et à l'exploration des seuils perceptifs, qui ambitionne de tordre l'espace "en mille anamorphoses" - dépend dans une large mesure du formidable répertoire de gestes instrumentaux et de références symboliques qu'elle met en oeuvre. Pour comprendre ses créations, pour expliquer l'impact émotionnel qu'elles peuvent avoir sur l'auditeur, il convient alors de se concentrer sur leur fonctionnement effectif, en prenant en compte la finesse d'une écriture qui a su intégrer de surprenants matériaux hétéroclites, ainsi que des modes de jeu particuliers, bouleversant nos habitudes d'écoute. C'est ce qu'ont cherché à faire les auteurs des textes réunis dans ce volume, qui entend jeter une lumière nouvelle sur la manière dont ce compositeur de talent a greffé sur les techniques spectrales de puissantes stratégies de saturation, déformation et dégradation de la matière sonore, au sein d'une création musicale qui semble définitivement brouiller les limites entre culture "savante" et "populaire"."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .R669 A63 2015 Unavailable On order Request
Book
vi, 234 pages : illustrations ; 22 cm
  • Contents: Who was Bruckner? - Neurosis - Libido - Emotionality - Persecution Mania - Religiosity - Personality and xuvre - Music as Religious Confession - A new Dramatic Conception of the Mass - The Fiction of "Absolute Music" - Originality and Modernity - Imaginations.
  • (source: Nielsen Book Data)
While unappreciated and controversial during most of his life, Anton Bruckner is today regarded as the greatest symphonist between Beethoven and Gustav Mahler - in terms of originality, boldness and monumentality of his music. The image of Bruckner the man, however, is still extreme instance of the tenacious power of prejudice. No less a figure than Gustav Mahler coined the apercu about Bruckner being a simpleton - half genius, half imbecile. The author is out to correct that misperception. His thesis in this study is that contrary to what has hitherto been asserted, there is an intimate relation between Bruckner's sacred music and his symphonies from multiple perspectives: biographical data, sources and influences, the psychology of creation, musical structure, contemporary testimony and reception history. Additional chapters assess important Bruckner recordings and interpreters and the progressiveness of his music.
(source: Nielsen Book Data)
  • Contents: Who was Bruckner? - Neurosis - Libido - Emotionality - Persecution Mania - Religiosity - Personality and xuvre - Music as Religious Confession - A new Dramatic Conception of the Mass - The Fiction of "Absolute Music" - Originality and Modernity - Imaginations.
  • (source: Nielsen Book Data)
While unappreciated and controversial during most of his life, Anton Bruckner is today regarded as the greatest symphonist between Beethoven and Gustav Mahler - in terms of originality, boldness and monumentality of his music. The image of Bruckner the man, however, is still extreme instance of the tenacious power of prejudice. No less a figure than Gustav Mahler coined the apercu about Bruckner being a simpleton - half genius, half imbecile. The author is out to correct that misperception. His thesis in this study is that contrary to what has hitherto been asserted, there is an intimate relation between Bruckner's sacred music and his symphonies from multiple perspectives: biographical data, sources and influences, the psychology of creation, musical structure, contemporary testimony and reception history. Additional chapters assess important Bruckner recordings and interpreters and the progressiveness of his music.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .B88 F613 2015 Unknown
Book
xv, 460 pages : music ; 24 cm
  • Contents: Introduction. Part I Description of Karnatic Concepts and Techniques: A: Foundations: The tala system-- Gatis-- Jathis-- Gati bhedam-- Rhythmical sangatis-- Jathi bhedam-- Introduction to anuloma-pratiloma. B: Exclusively creative techniques: Mukthays-- Yati phrases-- Yati mukthays-- Tirmanas-- Compound mukthays-- Yatis prastara-- Double and triple mukthays-- Mukthay combinations-- Poruttam A-- Moharas. C: Motta kannakku: Nadai bhedam-- Mixed jathi nadai bhedam-- Combinations anuloma-pratiloma-- Derived creative techniques. D: Recent developments: Tala prastara-- Further development of the mukhy system-- Latest developments of gatis. Part II Pedagogical and Creative Applications to Western Music: Application of karnatic techniques to existing western pieces-- Analysis of students' pieces. Conclusion-- Appendix-- Index.
  • (source: Nielsen Book Data)
Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, VarAse or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that todaya (TM)s music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique.
(source: Nielsen Book Data)
  • Contents: Introduction. Part I Description of Karnatic Concepts and Techniques: A: Foundations: The tala system-- Gatis-- Jathis-- Gati bhedam-- Rhythmical sangatis-- Jathi bhedam-- Introduction to anuloma-pratiloma. B: Exclusively creative techniques: Mukthays-- Yati phrases-- Yati mukthays-- Tirmanas-- Compound mukthays-- Yatis prastara-- Double and triple mukthays-- Mukthay combinations-- Poruttam A-- Moharas. C: Motta kannakku: Nadai bhedam-- Mixed jathi nadai bhedam-- Combinations anuloma-pratiloma-- Derived creative techniques. D: Recent developments: Tala prastara-- Further development of the mukhy system-- Latest developments of gatis. Part II Pedagogical and Creative Applications to Western Music: Application of karnatic techniques to existing western pieces-- Analysis of students' pieces. Conclusion-- Appendix-- Index.
  • (source: Nielsen Book Data)
Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, VarAse or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that todaya (TM)s music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
MT6 .R333 A67 2015 Unknown
Book
xiii, 249 pages, 16 unnumbered pages of plates : illustrations (some color) ; 29 cm
  • Acknowledgments xi Introduction xiii 1. Basic Theory 1 Sound Level 2 Sound Level 2 Source Path Receiver 4 Measuring Sound Level 5 Measuring Sound Level 8 Multiple Sound Sources 9 Decibel Addition 10 Sound Propagation 11 Sound Propagation 11 Directivity 12 Sound Frequency 13 Frequency 13 Octave Bands 17 Sound Level Perception and Frequency 19 A?]Weighted Decibels 20 The Special Case of Low?]Frequency Sound 22 2. Sound Absorption 25 Principles of Absorptive and Reflective Surfaces 26 Absorption Coefficient 27 Types of Sound Absorbers 29 Room Constant 33 Room Average Absorption 33 Noise Reduction Coefficient (NRC) 36 Sound Absorption Data 38 3. Room Acoustics 57 Room Acoustics Qualities 58 Impulse Response 58 Reverberance 60 Optimal Reverberation Time 65 Clarity 66 Variable Acoustics 70 Reverberation Time Calculation Checklist 74 Room Shaping for Speech and Music 75 Loudness 76 Balconies 80 Sightlines 82 Warmth 83 Concert Hall Types 85 Spatial Impression 87 Intimacy 94 Diffusion 95 Theater Planning 97 Stage Acoustics 97 Orchestra Pits 101 What Makes a Good Room for Music? 102 Performance Venue Seats 106 Acoustic Defects 109 Acoustic Defects 109 Performance Venues 114 Room Acoustics History 114 Performance Venues to Visit 117 Design Checklists 118 Rooms for Unamplified Music Performance Checklist 118 Other Types of Rooms Checklist 119 Sound System Design 123 Electronic Sound Reinforcement 123 4. Noise Control 131 Sound Isolation Principles 132 Apartment Layout Graphic Quiz 132 Flanking 133 Flanking Graphic Checklist 134 Flanking Noise Checklist 134 Measures of Airborne Sound Isolation 140 Transmission Loss (TL) 140 Sound Transmission Class (STC) 142 How to Measure Sound Transmission Class (STC) 144 Target STC Ratings 146 Noise Reduction (NR) 147 Achieving Higher Acoustical Privacy 148 Background Noise 152 Background Noise 152 Noise Criteria (NC) 153 Speech Intelligibility and Noise 155 Open?]Plan Office Acoustics 157 Sound Transmission Loss Data 162 Noise Reduction Example Problem 175 Air?]Structure?]Air Flanking 178 Acoustic Privacy Checklist 179 Apartment Layout Quiz Answer 180 Door and Window Sound Isolation 182 Doors 182 Noise Isolation and Windows 184 Impact Noise 185 Impact Noise Isolation 185 How to Measure IIC 190 Impact Noise Checklist 192 Recommended Floor?]Ceiling Assemblies 195 Resiliently Mounted Room Surfaces 197 Community Noise 202 Principles of Community Noise 202 Building?]in?]Building Design 202 Noise Sources 204 Community Noise Research 207 Community Noise Example Problem 208 Outdoor Barriers 209 Outdoor Barriers Checklist 210 Outdoor Barrier Example Problem 212 Wind Turbine Noise 214 Community Noise Checklist 215 Mechanical System Noise 217 Principles of Mechanical System Noise 217 Ducted Fan Noise 220 Mechanical Room Graphic Checklist 224 Ducted Air Turbulence Noise 225 Vibration Isolation 229 Mechanical Noise Checklist 232 Plumbing Noise 237 Isolating Pipes from Structure 238 Plumbing Noise Checklist 239 index 243.
  • (source: Nielsen Book Data)
Unite the science of sound and the principles of design to enhance any space Architectural Acoustics Illustrated translates the quantitative and qualitative content of acoustics into the graphic language of architecture. This highly-visual guide includes over 350 illustrations that outline the physics of sound and the best design practices for limiting or mitigating noise in buildings by using the latest in materials and techniques. Each chapter includes a summary checklist of design guidelines to help prevent mistakes and oversights, and the Instructor's website offers video animations demonstrating acoustical concepts. Designed as a "first look" at the interaction of sound and space, the book explains the principles of architectural acoustics and their practical applications, providing a comprehensive guide for designing with acoustics in mind. Architectural acoustics is more than just concert halls it may determine building placement, division of interior space, exterior construction, and even siting. When addressed early in the design process, the resulting space can be free of unwanted sound and promote good hearing; if left unaddressed, the problems with the space can lead to lawsuits and costly post-construction remediation. Architectural Acoustics Illustrated helps designers solve most acoustical problems in advance, by enabling readers to: * Understand the physical science underlying the behavior of sound * Consider the interactions of sound and space in the initial design approach * Mitigate building sounds such as those produced by HVAC and plumbing with early design planning * Design spaces for listening, and incorporate acoustics best practices into every plan The highly visual format of the book helps readers grasp complex concepts quickly, and thorough discussion of each concept's real-world application ties the science directly into the design process. All design professionals need to have a fundamental understanding of acoustics, and Architectural Acoustics Illustrated is a comprehensive, practical guide in an easy-to-read format.
(source: Nielsen Book Data)
  • Acknowledgments xi Introduction xiii 1. Basic Theory 1 Sound Level 2 Sound Level 2 Source Path Receiver 4 Measuring Sound Level 5 Measuring Sound Level 8 Multiple Sound Sources 9 Decibel Addition 10 Sound Propagation 11 Sound Propagation 11 Directivity 12 Sound Frequency 13 Frequency 13 Octave Bands 17 Sound Level Perception and Frequency 19 A?]Weighted Decibels 20 The Special Case of Low?]Frequency Sound 22 2. Sound Absorption 25 Principles of Absorptive and Reflective Surfaces 26 Absorption Coefficient 27 Types of Sound Absorbers 29 Room Constant 33 Room Average Absorption 33 Noise Reduction Coefficient (NRC) 36 Sound Absorption Data 38 3. Room Acoustics 57 Room Acoustics Qualities 58 Impulse Response 58 Reverberance 60 Optimal Reverberation Time 65 Clarity 66 Variable Acoustics 70 Reverberation Time Calculation Checklist 74 Room Shaping for Speech and Music 75 Loudness 76 Balconies 80 Sightlines 82 Warmth 83 Concert Hall Types 85 Spatial Impression 87 Intimacy 94 Diffusion 95 Theater Planning 97 Stage Acoustics 97 Orchestra Pits 101 What Makes a Good Room for Music? 102 Performance Venue Seats 106 Acoustic Defects 109 Acoustic Defects 109 Performance Venues 114 Room Acoustics History 114 Performance Venues to Visit 117 Design Checklists 118 Rooms for Unamplified Music Performance Checklist 118 Other Types of Rooms Checklist 119 Sound System Design 123 Electronic Sound Reinforcement 123 4. Noise Control 131 Sound Isolation Principles 132 Apartment Layout Graphic Quiz 132 Flanking 133 Flanking Graphic Checklist 134 Flanking Noise Checklist 134 Measures of Airborne Sound Isolation 140 Transmission Loss (TL) 140 Sound Transmission Class (STC) 142 How to Measure Sound Transmission Class (STC) 144 Target STC Ratings 146 Noise Reduction (NR) 147 Achieving Higher Acoustical Privacy 148 Background Noise 152 Background Noise 152 Noise Criteria (NC) 153 Speech Intelligibility and Noise 155 Open?]Plan Office Acoustics 157 Sound Transmission Loss Data 162 Noise Reduction Example Problem 175 Air?]Structure?]Air Flanking 178 Acoustic Privacy Checklist 179 Apartment Layout Quiz Answer 180 Door and Window Sound Isolation 182 Doors 182 Noise Isolation and Windows 184 Impact Noise 185 Impact Noise Isolation 185 How to Measure IIC 190 Impact Noise Checklist 192 Recommended Floor?]Ceiling Assemblies 195 Resiliently Mounted Room Surfaces 197 Community Noise 202 Principles of Community Noise 202 Building?]in?]Building Design 202 Noise Sources 204 Community Noise Research 207 Community Noise Example Problem 208 Outdoor Barriers 209 Outdoor Barriers Checklist 210 Outdoor Barrier Example Problem 212 Wind Turbine Noise 214 Community Noise Checklist 215 Mechanical System Noise 217 Principles of Mechanical System Noise 217 Ducted Fan Noise 220 Mechanical Room Graphic Checklist 224 Ducted Air Turbulence Noise 225 Vibration Isolation 229 Mechanical Noise Checklist 232 Plumbing Noise 237 Isolating Pipes from Structure 238 Plumbing Noise Checklist 239 index 243.
  • (source: Nielsen Book Data)
Unite the science of sound and the principles of design to enhance any space Architectural Acoustics Illustrated translates the quantitative and qualitative content of acoustics into the graphic language of architecture. This highly-visual guide includes over 350 illustrations that outline the physics of sound and the best design practices for limiting or mitigating noise in buildings by using the latest in materials and techniques. Each chapter includes a summary checklist of design guidelines to help prevent mistakes and oversights, and the Instructor's website offers video animations demonstrating acoustical concepts. Designed as a "first look" at the interaction of sound and space, the book explains the principles of architectural acoustics and their practical applications, providing a comprehensive guide for designing with acoustics in mind. Architectural acoustics is more than just concert halls it may determine building placement, division of interior space, exterior construction, and even siting. When addressed early in the design process, the resulting space can be free of unwanted sound and promote good hearing; if left unaddressed, the problems with the space can lead to lawsuits and costly post-construction remediation. Architectural Acoustics Illustrated helps designers solve most acoustical problems in advance, by enabling readers to: * Understand the physical science underlying the behavior of sound * Consider the interactions of sound and space in the initial design approach * Mitigate building sounds such as those produced by HVAC and plumbing with early design planning * Design spaces for listening, and incorporate acoustics best practices into every plan The highly visual format of the book helps readers grasp complex concepts quickly, and thorough discussion of each concept's real-world application ties the science directly into the design process. All design professionals need to have a fundamental understanding of acoustics, and Architectural Acoustics Illustrated is a comprehensive, practical guide in an easy-to-read format.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
NA2800 .E76 2015 Unknown
Book
375 p. ; 24 cm.
  • Introduction, par Étienne Jardin & Patrick Taïeb -- Une affiche du Concert spirituel retrouvée, et quelques observations sur la relation entre les affiches et la presse, par Beverly Wilcox -- Les Paroles du concert au XVIIIe siècle : premiers exemples de programmes de salle imprimés, par Florence Doé de Maindreville -- Le concert et le droit des pauvres en l'an V, par Patrick Taïeb -- Les concerts parisiens de 1822 à 1848 d'après les archives du droit des pauvres. Introduction au répertoire, par Étienne Jardin -- Les concerts de Paris. Feuilleton paru dans Le Ménestrel (31 mai, 7, 14 et 21 juin et 5 juillet 1840), par Edmond Viel -- Répertoire des concerts parisiens de 1822 à 1848 d'après les archives du droit des pauvres, par Étienne Jardin -- Index des noms du répertoire -- Index des lieux du répertoire -- Annexe 1 Bilan par année des sommes perçues -- Annexe 2 Bilan par salle des sommes perçues.
"Une affiche du Concert spirituel retrouvée (pour l'année 1754) ; un corpus de "Paroles du concert" (ancêtres des programmes de salle) issu des académies de musique de six villes françaises et datant de la deuxième partie du XVIIIe siècle ; les archives du droit des pauvres (taxe sur les spectacles fixée sous la Révolution française) concernant les événements parisiens de la Restauration et de la monarchie de Juillet : en analysant ces documents méconnus, Beverly Wilcox, Florence Doé de Maindreville, Patrick Taieb et Étienne Jardin apportent, dans cet ouvrage, de nouveaux éclairages sur l'histoire du concert en France entre 1750 et 1850. Leurs études y sont complétées par le répertoire indexé des concerts publics ayant eu lieu à Paris entre 1822 et 1848 : plus de 3 000 fiches établies à partir des archives du droit des pauvres qui permettent de retracer le parcours de musiciens prestigieux (Berlioz, Liszt, Paganini, Chopin ou Offenbach) et de découvrir une vie musicale d'une richesse encore insoupçonnée."--P. [4] of cover.
  • Introduction, par Étienne Jardin & Patrick Taïeb -- Une affiche du Concert spirituel retrouvée, et quelques observations sur la relation entre les affiches et la presse, par Beverly Wilcox -- Les Paroles du concert au XVIIIe siècle : premiers exemples de programmes de salle imprimés, par Florence Doé de Maindreville -- Le concert et le droit des pauvres en l'an V, par Patrick Taïeb -- Les concerts parisiens de 1822 à 1848 d'après les archives du droit des pauvres. Introduction au répertoire, par Étienne Jardin -- Les concerts de Paris. Feuilleton paru dans Le Ménestrel (31 mai, 7, 14 et 21 juin et 5 juillet 1840), par Edmond Viel -- Répertoire des concerts parisiens de 1822 à 1848 d'après les archives du droit des pauvres, par Étienne Jardin -- Index des noms du répertoire -- Index des lieux du répertoire -- Annexe 1 Bilan par année des sommes perçues -- Annexe 2 Bilan par salle des sommes perçues.
"Une affiche du Concert spirituel retrouvée (pour l'année 1754) ; un corpus de "Paroles du concert" (ancêtres des programmes de salle) issu des académies de musique de six villes françaises et datant de la deuxième partie du XVIIIe siècle ; les archives du droit des pauvres (taxe sur les spectacles fixée sous la Révolution française) concernant les événements parisiens de la Restauration et de la monarchie de Juillet : en analysant ces documents méconnus, Beverly Wilcox, Florence Doé de Maindreville, Patrick Taieb et Étienne Jardin apportent, dans cet ouvrage, de nouveaux éclairages sur l'histoire du concert en France entre 1750 et 1850. Leurs études y sont complétées par le répertoire indexé des concerts publics ayant eu lieu à Paris entre 1822 et 1848 : plus de 3 000 fiches établies à partir des archives du droit des pauvres qui permettent de retracer le parcours de musiciens prestigieux (Berlioz, Liszt, Paganini, Chopin ou Offenbach) et de découvrir une vie musicale d'une richesse encore insoupçonnée."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML270.3 .A73 2015 Unknown
Book
xxxviii, 127 p. : ill., music ; 25 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML171 .M49 2015 Unknown
Book
xviii, 262 pages : illustrations, music ; 24 cm.
  • Contents: Introduction, Mine Dogantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook-- Practising research, playing with knowledge, Celia Duffy and Stephen Broad-- Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin-- Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher's personal history, Jane W. Davidson-- Following performance across the research frontier, Kathryn Whitney-- The (f)utility of performance analysis, John Rink-- Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine Dogantan-Dack-- Creating new music for a redesigned instrument, Christopher Redgate-- Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka-- FLAT TIME/sounding, David Toop-- Index.
  • (source: Nielsen Book Data)
Artistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relation to live performance as a research method; artistic collaboration and improvisation as research tools; interdisciplinary concerns of the artist-researcher; and the relationship between the affordances of a musical instrument and artistic research in musical performance. Readers will come away from the book with fresh insights about the theoretical, critical and practical work being done by experts in this exciting new field of enquiry.
(source: Nielsen Book Data)
  • Contents: Introduction, Mine Dogantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook-- Practising research, playing with knowledge, Celia Duffy and Stephen Broad-- Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin-- Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher's personal history, Jane W. Davidson-- Following performance across the research frontier, Kathryn Whitney-- The (f)utility of performance analysis, John Rink-- Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine Dogantan-Dack-- Creating new music for a redesigned instrument, Christopher Redgate-- Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka-- FLAT TIME/sounding, David Toop-- Index.
  • (source: Nielsen Book Data)
Artistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relation to live performance as a research method; artistic collaboration and improvisation as research tools; interdisciplinary concerns of the artist-researcher; and the relationship between the affordances of a musical instrument and artistic research in musical performance. Readers will come away from the book with fresh insights about the theoretical, critical and practical work being done by experts in this exciting new field of enquiry.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML3797 .A77 2015 Unknown
Book
508 pages : music ; 24 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
(no call number) Unavailable On order Request
Book
xiii, 353 pages : ill. ; 24 cm
  • Preface About the Authors Aim and Scope of Book Introduction and Fundamentals Understanding Sound and Digital Audio Working with Decibels Level Measurements Representing and Understanding Digital Signals Representing Complex Numbers Frequency and Time-Frequency Representations Aliasing Modifying and Processing Digital Signals The Z Transform and Filter Representation Digital Filter Example Nonlinear and Time-Varying Effects Delay Line Effects Delay Theory Basic Delay Delay with Feedback Other Delay Types Slapback Delay Multitap Delay Ping-Pong Delay Implementation Basic Delay Variations Delay Line Interpolation Code Example Applications Vibrato Simulation Theory Interpolation Implementation Low-Frequency Oscillator Parameters Code Example Applications Flanging Theory Principle of Operation Basic Flanger Low-Frequency Oscillator Flanger with Feedback Stereo Flanging Properties Common Parameters Depth (or Mix) Delay and Sweep Width Speed and Waveform Feedback (or Regeneration) Inverted Mode (or Phase) Implementation Buffer Allocation Interpolation Code Example Applications Resonant Pitches Avoiding Disappearing Instruments Flanging versus Chorus Chorus Theory Basic Chorus Low-Frequency Oscillator Pitch-Shifting in the Chorus Multivoice Chorus Stereo Chorus Properties Common Parameters Depth (or Mix) Delay and Sweep Width Speed and Waveform Number of Voices Other Variations Summary: Flanger and Chorus Compared Filter Design Filter Construction and Transformation Simple, Prototype Low-Pass Filter High-Order Prototype Low-Pass Filter Changing the Gain at the Cutoff Frequency Shifting the Cutoff Frequency Creating a Shelving Filter Inverting the Magnitude Response Simple Low-Pass to Band Pass Transformation Popular IIR Filter Design Low Pass High Pass Low Shelf High Shelf Gain at Bandwidth Band Pass Filters Band Stop Filters Peaking and Notch Filters The Allpass Filter Applications of Filter Fundamentals Exponential Moving Average Filter Loudspeaker Crossovers Filter Effects Equalization Theory Two-Knob Tone Controls Three-Knob Tone Controls Presence Control Loudness Control Graphic Equalizers Bands in a Graphic Equalizer Parametric Equalizers Summary Implementation General Notes Tone Control Architecture Calculating Filter Coefficients Presence and Loudness Architecture Graphic Equalizer Architecture Parametric Equalizer Architecture Code Example Applications Graphic Equalizer Application Parametric Equalizer Application Wah-Wah Theory Basis in Speech Basic Wah-Wah Auto-Wah Tremolo-Wah Other Variations Implementation Filter Design Low-Frequency Oscillator Envelope Follower Analog Emulation Phaser Theory Basic Phaser Low-Frequency Oscillator Phaser with Feedback Stereo Phaser Implementation Allpass Filter Calculation Alternate Implementation LFO Waveform Analog and Digital Implementations Common Parameters Code Example Amplitude Modulation Tremolo Theory Low-Frequency Oscillator Properties Implementation Audio Rate and Control Rate Code Example Ring Modulation Theory Modulation in the Frequency Domain Perception w-Frequency Oscillator Variations Implementation Code Example Applications Dynamics Processing Dynamic Range Compression Theory Compressor Controls Signal Paths The Gain Stage The Gain Computer Level Detection RMS Detector Peak Detector Level-Corrected Peak Detectors Implementation Feedback and Feedforward Design An Alternate Digital Feedback Compressor Detector Placement Code Example Application Artifacts Summary Noise Gates and Expanders Theory and Implementation Applications Overdrive, Distortion, and Fuzz Theory Characteristic Curve Hard and Soft Clipping Input Gain Symmetry and Rectification Harmonic Distortion Intermodulation Distortion Analog Emulation Implementation Basic Implementation Aliasing and Oversampling Filtering Common Parameters Tube Sound Distortion Code Example Applications Expressivity and Spectral Content Sustain Comparison with Compression The Phase Vocoder Phase Vocoder Theory Overview Windowing Analysis: Fast Fourier Transform Interpreting Frequency Domain Data Target Phase, Phase Deviation, and Instantaneous Frequency Synthesis: Inverse Fast Fourier Transform Overlap-Add Filterbank Analysis Variant Oscillator Bank Reconstruction Variant Phase Vocoder Effects Robotization Robotization Code Example Whisperization Whisperization Code Example Time Scaling Time-Scaling Resynthesis Pitch Shifting Code Example Phase Vocoder Artifacts Spatial Audio Theory Panorama Precedence Vector Base Amplitude Panning Ambisonics Wave Field Synthesis The Head-Related Transfer Function ITD Model ILD Model Implementation Joint Panorama and Precedence Ambisonics and Its Relationship to VBAP Implementation of WFS HRTF Calculation Applications Transparent Amplification Surround Sound Sound Reproduction Using HRTFs The Doppler Effect A Familiar Example Derivation of the Doppler Effect Simple Derivation of the Basic Doppler Effect General Derivation of the Doppler Effect Simplifications and Approximations Implementation Time-Varying Delay Line Reads Multiple Write Pointers Code Example Applications Reverberation Theory Sabine and Norris-Eyring Equations Direct and Reverberant Sound Fields Implementation Algorithmic Reverb Schroeder's Reverberator Moorer's Reverberator Generating Reverberation with the Image Source Method Background The Image Source Model Modeling Reflections as Virtual Sources Locating the Virtual Sources The Impulse Response for a Virtual Source Convolutional Reverb Convolution and Fast Convolution Block-Based Convolution Physical Meaning Other Approaches Applications Why Use Reverb? Stereo Reverb Gated Reverb Reverse Reverb Common Parameters Audio Production The Mixing Console The Channel Section The Master Section Metering and Monitoring Basic Mixing Console Signal Flow and Routing Inserts for Processors, Auxiliary Sends for Effects Subgroup and Grouping Digital versus Analog Latency Digital User Interface Design Sound Quality Do You Need to Decide? Software Mixers Digital Audio Workstations Common Functionality of Computer-Based DAWs MIDI and Sequencers Audio Effect Ordering Noise Gates Compressors and Noise Gates Compression and EQ Reverb and Flanger Reverb and Vibrato Delay Line Effects Distortion Order Summary Combinations of Audio Effects Parallel Effects and Parallel Compression Sidechaining Ducking De-Esser Sidechain Compression for Mastering Multiband Compression Dynamic Equalization Combining LFOs with Other Effects Discussion Building Audio Effect Plug-Ins Plug-In Basics Programming Language Plug-In Properties The JUCE Framework Theory of Operation Callback Function Managing Parameters Initialization and Cleanup Preserving State Example: Building a Delay Effect in JUCE Required Software Creating a New Plug-In in JUCE Opening Example Plug-Ins File Overview PluginProcessor.h Declaration and Methods Variables PluginProcessor.cpp Audio Callback Initialization Managing Parameters Cleanup PluginEditor.h PluginEditor.cpp Initialization Managing Parameters Resizing Cleanup Summary Advanced Topics Efficiency Considerations Thread Safety Conclusion References Index.
  • (source: Nielsen Book Data)
Audio Effects: Theory, Implementation and Application explores digital audio effects relevant to audio signal processing and music informatics. It supplies fundamental background information on digital signal processing, focusing on audio-specific aspects that constitute the building block on which audio effects are developed. The text integrates theory and practice, relating technical implementation to musical implications. It can be used to gain an understanding of the operation of existing audio effects or to create new ones. In addition to delivering detailed coverage of common (and unusual) audio effects, the book discusses current digital audio standards, most notably VST and AudioUnit. Source code is provided in C/C++ and implemented as audio effect plug-ins with accompanying sound samples. Each section of the book includes study questions, anecdotes from the history of music technology, and examples that offer valuable real-world insight, making this an ideal resource for researchers and for students moving directly into industry.
(source: Nielsen Book Data)
  • Preface About the Authors Aim and Scope of Book Introduction and Fundamentals Understanding Sound and Digital Audio Working with Decibels Level Measurements Representing and Understanding Digital Signals Representing Complex Numbers Frequency and Time-Frequency Representations Aliasing Modifying and Processing Digital Signals The Z Transform and Filter Representation Digital Filter Example Nonlinear and Time-Varying Effects Delay Line Effects Delay Theory Basic Delay Delay with Feedback Other Delay Types Slapback Delay Multitap Delay Ping-Pong Delay Implementation Basic Delay Variations Delay Line Interpolation Code Example Applications Vibrato Simulation Theory Interpolation Implementation Low-Frequency Oscillator Parameters Code Example Applications Flanging Theory Principle of Operation Basic Flanger Low-Frequency Oscillator Flanger with Feedback Stereo Flanging Properties Common Parameters Depth (or Mix) Delay and Sweep Width Speed and Waveform Feedback (or Regeneration) Inverted Mode (or Phase) Implementation Buffer Allocation Interpolation Code Example Applications Resonant Pitches Avoiding Disappearing Instruments Flanging versus Chorus Chorus Theory Basic Chorus Low-Frequency Oscillator Pitch-Shifting in the Chorus Multivoice Chorus Stereo Chorus Properties Common Parameters Depth (or Mix) Delay and Sweep Width Speed and Waveform Number of Voices Other Variations Summary: Flanger and Chorus Compared Filter Design Filter Construction and Transformation Simple, Prototype Low-Pass Filter High-Order Prototype Low-Pass Filter Changing the Gain at the Cutoff Frequency Shifting the Cutoff Frequency Creating a Shelving Filter Inverting the Magnitude Response Simple Low-Pass to Band Pass Transformation Popular IIR Filter Design Low Pass High Pass Low Shelf High Shelf Gain at Bandwidth Band Pass Filters Band Stop Filters Peaking and Notch Filters The Allpass Filter Applications of Filter Fundamentals Exponential Moving Average Filter Loudspeaker Crossovers Filter Effects Equalization Theory Two-Knob Tone Controls Three-Knob Tone Controls Presence Control Loudness Control Graphic Equalizers Bands in a Graphic Equalizer Parametric Equalizers Summary Implementation General Notes Tone Control Architecture Calculating Filter Coefficients Presence and Loudness Architecture Graphic Equalizer Architecture Parametric Equalizer Architecture Code Example Applications Graphic Equalizer Application Parametric Equalizer Application Wah-Wah Theory Basis in Speech Basic Wah-Wah Auto-Wah Tremolo-Wah Other Variations Implementation Filter Design Low-Frequency Oscillator Envelope Follower Analog Emulation Phaser Theory Basic Phaser Low-Frequency Oscillator Phaser with Feedback Stereo Phaser Implementation Allpass Filter Calculation Alternate Implementation LFO Waveform Analog and Digital Implementations Common Parameters Code Example Amplitude Modulation Tremolo Theory Low-Frequency Oscillator Properties Implementation Audio Rate and Control Rate Code Example Ring Modulation Theory Modulation in the Frequency Domain Perception w-Frequency Oscillator Variations Implementation Code Example Applications Dynamics Processing Dynamic Range Compression Theory Compressor Controls Signal Paths The Gain Stage The Gain Computer Level Detection RMS Detector Peak Detector Level-Corrected Peak Detectors Implementation Feedback and Feedforward Design An Alternate Digital Feedback Compressor Detector Placement Code Example Application Artifacts Summary Noise Gates and Expanders Theory and Implementation Applications Overdrive, Distortion, and Fuzz Theory Characteristic Curve Hard and Soft Clipping Input Gain Symmetry and Rectification Harmonic Distortion Intermodulation Distortion Analog Emulation Implementation Basic Implementation Aliasing and Oversampling Filtering Common Parameters Tube Sound Distortion Code Example Applications Expressivity and Spectral Content Sustain Comparison with Compression The Phase Vocoder Phase Vocoder Theory Overview Windowing Analysis: Fast Fourier Transform Interpreting Frequency Domain Data Target Phase, Phase Deviation, and Instantaneous Frequency Synthesis: Inverse Fast Fourier Transform Overlap-Add Filterbank Analysis Variant Oscillator Bank Reconstruction Variant Phase Vocoder Effects Robotization Robotization Code Example Whisperization Whisperization Code Example Time Scaling Time-Scaling Resynthesis Pitch Shifting Code Example Phase Vocoder Artifacts Spatial Audio Theory Panorama Precedence Vector Base Amplitude Panning Ambisonics Wave Field Synthesis The Head-Related Transfer Function ITD Model ILD Model Implementation Joint Panorama and Precedence Ambisonics and Its Relationship to VBAP Implementation of WFS HRTF Calculation Applications Transparent Amplification Surround Sound Sound Reproduction Using HRTFs The Doppler Effect A Familiar Example Derivation of the Doppler Effect Simple Derivation of the Basic Doppler Effect General Derivation of the Doppler Effect Simplifications and Approximations Implementation Time-Varying Delay Line Reads Multiple Write Pointers Code Example Applications Reverberation Theory Sabine and Norris-Eyring Equations Direct and Reverberant Sound Fields Implementation Algorithmic Reverb Schroeder's Reverberator Moorer's Reverberator Generating Reverberation with the Image Source Method Background The Image Source Model Modeling Reflections as Virtual Sources Locating the Virtual Sources The Impulse Response for a Virtual Source Convolutional Reverb Convolution and Fast Convolution Block-Based Convolution Physical Meaning Other Approaches Applications Why Use Reverb? Stereo Reverb Gated Reverb Reverse Reverb Common Parameters Audio Production The Mixing Console The Channel Section The Master Section Metering and Monitoring Basic Mixing Console Signal Flow and Routing Inserts for Processors, Auxiliary Sends for Effects Subgroup and Grouping Digital versus Analog Latency Digital User Interface Design Sound Quality Do You Need to Decide? Software Mixers Digital Audio Workstations Common Functionality of Computer-Based DAWs MIDI and Sequencers Audio Effect Ordering Noise Gates Compressors and Noise Gates Compression and EQ Reverb and Flanger Reverb and Vibrato Delay Line Effects Distortion Order Summary Combinations of Audio Effects Parallel Effects and Parallel Compression Sidechaining Ducking De-Esser Sidechain Compression for Mastering Multiband Compression Dynamic Equalization Combining LFOs with Other Effects Discussion Building Audio Effect Plug-Ins Plug-In Basics Programming Language Plug-In Properties The JUCE Framework Theory of Operation Callback Function Managing Parameters Initialization and Cleanup Preserving State Example: Building a Delay Effect in JUCE Required Software Creating a New Plug-In in JUCE Opening Example Plug-Ins File Overview PluginProcessor.h Declaration and Methods Variables PluginProcessor.cpp Audio Callback Initialization Managing Parameters Cleanup PluginEditor.h PluginEditor.cpp Initialization Managing Parameters Resizing Cleanup Summary Advanced Topics Efficiency Considerations Thread Safety Conclusion References Index.
  • (source: Nielsen Book Data)
Audio Effects: Theory, Implementation and Application explores digital audio effects relevant to audio signal processing and music informatics. It supplies fundamental background information on digital signal processing, focusing on audio-specific aspects that constitute the building block on which audio effects are developed. The text integrates theory and practice, relating technical implementation to musical implications. It can be used to gain an understanding of the operation of existing audio effects or to create new ones. In addition to delivering detailed coverage of common (and unusual) audio effects, the book discusses current digital audio standards, most notably VST and AudioUnit. Source code is provided in C/C++ and implemented as audio effect plug-ins with accompanying sound samples. Each section of the book includes study questions, anecdotes from the history of music technology, and examples that offer valuable real-world insight, making this an ideal resource for researchers and for students moving directly into industry.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Stacks
TK7881.4 .R45 2015 Unknown
Book
ix, 254 pages : illustrations, music ; 21 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
(no call number) Unavailable On order Request