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Altman, R. (1992). The material heterogeneity of recorded sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 15–31). New York: Routledge.
Added by: Mark Grimshaw-Aagaard (10/14/04, 12:19 PM)
|Resource type: Book Article
BibTeX citation key: Altman1992a
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|Categories: Film Music/Sound, Sound Design
Keywords: Film sound
Publisher: Routledge (New York)
Collection: Sound Theory Sound Practice
Whereas a sound has been analyzed previously solely in terms of loudness, pitch, timbre, this article proposes wider analysis respecting the "discursive complexity" (p.16) of sound. Some technical detail on the production and reception of sound.
Added by: Mark Grimshaw-Aagaard
|pp.19–20 "Systematically, the name of a sound refers to the production of sound and not to its consumption, to the object making the sound rather than the person perceiving it." Added by: Mark Grimshaw-Aagaard|
|p.22 "What our ears are doing is a form of narrative analysis." Added by: Mark Grimshaw-Aagaard|
|p.30 "If there were no connection between the apparent sound event and the original sound source, recorded sound would not have its extraordinary capacity for idealogical impact. ... Between the illusion of reproduction and the reality of representation lies the discursive power of recorded sound." Added by: Mark Grimshaw-Aagaard|