Sound Research WIKINDX
Sound Research WIKINDX |
|
|
Displaying 1 - 3 of 3 Parameters |
| Kress, G., & van Leeuwen, T. (2001). Multimodal discourse: The modes and media of contemporary communication. London: Hodder Arnold. |
 
|
| Added by: Mark Grimshaw-Aagaard 20/10/2006, 12:12 | |
| van Leeuwen, T. (1999). Speech, music, sound. London: MacMillan Press. |
 
|
| Added by: Mark Grimshaw-Aagaard 22/09/2006, 15:16 | |
| "Sound and image are distinctly different media. There is, for instance, no equivalent of the 'frontal' and 'side on' angle in sound. Sound is a wrap-around medium." | |
| "...sound is dynamic: it can move us towards or away from a certain position, it can change our relation to what we hear." | |
| "..if we can use sound to actually do things, to hail or warn or soothe, we can also use it to represent these things, to represent hailing or warning or soothing." | |
| "...sound is always dynamic. Sounds are not things, nor can they represent things. Sounds are actions and can only represent the actions of people, places and things: ... the rustling of the leaves of the trees, not the trees themselves.... Sound messages only have verbs, so to speak. The nouns are inferred not stated." | |
| Arguing that timbre also has semiotic value and is not just a container for semiotic speech or music (as writing is when compared to speech by linguists): "Sound never just 'expresses' or 'represents', it always also, and at the same time, affects us." He refers to Barthes' The Grain of the Voice. | |
| Speaking of the human voice and what its semiotic value might be: "For most twentieth-century linguists the answer to this question has been: none. For them, 'phonemes', speech sounds, have no intrinsic value, but only distinctive value. They only serve to tell words apart from each other." | |
| "[Sound] [T]echnology has been drawn into the realm of semiotics." | |
| "Sound ... is designed. It is no longer 'slaved' to what we see, but can play an independent role, just as many of the sounds in our everyday environment are no longer 'indexical', mechanically caused by whatever they are the sound of, but designed:... [A]s I open a door, I may hear, not the clicking of the clock, but an electronic buzz ... [M]uzak replaces the waiting tone of the telephone." | |
|
"...sound designers ... can manipulate the genre of sound we will hear, and create 'documentary realist' sound, 'humoristic' sound, 'heightened dramatic' sound, 'surreal' sound..." van Leeuwen further talks about the different types of semiotic coding required for each. |
|
Discusses sound depth (the only parameter of the perspective he's ostensibly talking about that he seems concerned with (as sound has no front or side aspect)) and terms used to describe layers of sound in different sonic professions:
All are hierarchies of three layers. |
|
| Sound consists of different features each contributing some signification that defines what the sound represents. These significations are derived from our experience and ability to associate the sound with an action that occurs when the sound is produced. i.e. We extend our practical experience to understand that others may behave similarly. | |
| Applies semiotics to the timbre of the voice. There's a potentially useful section on the voicing of vowels and consonents and their potential significations when used in (English) words. | |
Presents three coding orientations for sound derived from the greater or lesser articulation of various modalities (see below):
There may be configurations of these three. Modalities:
|
|
| Ward, M. (2010). Voice, videogames, and the technologies of immersion. In N. Neumark, R. Gibson & T. van Leeuwen (Eds.), {VOICE} Vocal Aesthetics in Digital Arts and Media. (pp. 265–277). Cambridge, Massachusetts: MIT Press. |
|
| Added by: Mark Grimshaw-Aagaard 21/07/2011, 10:38 |