Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 4 of 4 Parameters |
| Battier, M. (2024). Esthétique du son artificiel: Genèse des musiques électroniques. Paris: Vrin - MusicologieS. |
 
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| Added by: Mark Grimshaw-Aagaard 31/01/2025, 01:53 | |
| Kealy, E. R. (1979). From craft to art: The case of sound mixers and popular music. Sociology of Work and Occupations, 6(1), 3–29. |
 
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 05/05/2026, 06:05 | |
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"He [Becker, 1978 p. 864-870] posits that such a transformation occurs when artists become interested in the craft materials as a new medium for artistic expression and make attempts to take it over. The results of such a transformation show up primarily in two ways: (1) a change in the aesthetic conventions for judging the crafted objects from utilitarian to expressive, and (2) a change in the status of the work—and the workers—from technical to artistic. The following study specifies how this process took place in popular music collaborations and transformed sound mixing from a craft to an art." by "such a transformation" refers to sound mixers transforming into "artist-mixers" as creatives. See (Becker 1978). |
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| LaBelle, B. (2006). Background noise: Perspectives on sound art. New York: Continuum. |
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| Added by: Mark Grimshaw-Aagaard 09/03/2014, 11:13 | |
| "sound is always in more than one place. If I make a sound, such as clapping my hands, we hear this sound here, between my palms at the moment of clapping, but also within the room, tucked up into the corners, and immediately reverberating back, to return to the source of the sound." | |
| "Amplifying existing sounds, fostering auditory dialogues across inside and outside, tapping into structural vibrations to expand the sonic palette of tonality, and designing listening experiences by harnessing the environmental mix of found auditory events: each of these procedures come to the fore in sound installation, blossoming more fully into the beginnings of sound art as a distinct discipline." | |
| "Xenakis's example is indispensable to any formulation of a history of sound art by forging a dynamic mix of musical and spatial elements. To appropriate and create architecture for renewed sense of listening, sound installation moves increasingly toward public space, situating the listener within a larger framework of sonic experience that is necessarily social, thereby leaving behind the singular object or space for an enlarged environmental potential." | |
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"sound makes a given space appear beyond any total viewpoint: in echoing throughout the room, my clapping describes the space from a multiplicity of perspectives and locations, for the room is here, between the space of my palms, and there, along the trajectory of sound, appearing at multiple locations within its walls, for "the sound wave arriving at the ear is the analogue of the current state of the environment, because as the wave travels, it is charged by each interaction with the environment"1."
1. Barry Truax. 1994. Acoustic Communication. Norwood, NJ: Ablex Publishing Corporation. p.15. |
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| Voegelin, S. (2013). Sonic possible worlds. Leonardo Music Journal, 23. |
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| Added by: Mark Grimshaw-Aagaard 15/03/2015, 15:00 |