Deep Listening A Composer S Sound Practice 2005
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Deep Listening
Offers a guide to ways of listening and sounding, providing insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be affected by profound attention to the sonic environment. Deep Listening is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. --From publisher description.
3D Audio
3D Audio offers a detailed perspective of this rapidly developing arena. Written by many of the world’s leading researchers and practitioners, it draws from science, technologies, and creative practice to provide insight into cutting-edge research in 3D audio. Through exploring the intersection of these fields, the reader will gain insight into a number of research areas and professional practice in 3D sonic space. As such, the book acts both as a primer that enables readers to gain an understanding of various aspects of 3D audio, and can inform students and audio enthusiasts, but its deep treatment of a diverse range of topics will also inform professional practitioners and academics beyond their core specialisms. The chapters cover areas such as an Ambisonics, binaural technologies and approaches, psychoacoustics, 3D audio recording, composition for 3D space, 3D audio in live sound, broadcast, and movies – and more. Overall, this book offers a definitive insight into an emerging sound world that is increasingly becoming part of our everyday lives.
The Oxford Handbook of Sound Art
Author: Jane Grant
language: en
Publisher: Oxford University Press
Release Date: 2021-09-27
Sound art has long been resistant to its own definition. Emerging from a liminal space between movements of thought and practice in the twentieth century, sound art has often been described in terms of the things that it is understood to have left behind: a space between music, fine art, and performance. The Oxford Handbook of Sound Art surveys the practices, politics, and emerging frameworks of thought that now define this previously amorphous area of study. Throughout the Handbook, artists and thinkers explore the uses of sound in contemporary arts practice. Imbued with global perspectives, chapters are organized in six overarching themes of Space, Time, Things, Fabric, Senses and Relationality. Each theme represents a key area of development in the visual arts and music during the second half of the twentieth century from which sound art emerged. By offering a set of thematic frameworks through which to understand these themes, this Handbook situates constellations of disparate thought and practice into recognized centers of activity.