1 - 10 of 34 articles
Recent developments in virtual and augmented reality technology have stimulated renewed interest in the role of sound and music in these domains. In this article loudspeakers, and the spaces used to listen to them, will be discussed with reference both to the dominant media that have influenced...
If space can be perceived through sound, then recording and playback techniques allow capturing a unique spatial moment for later retrieval. The notion of spectrality as the invisible visible can be used to explain the embodiment of an auditive momentum in a space that is ultimately absent. This...
In the contemporary moment, the typical sonic experience is solitary and portable—occurring through headphones, mobile phone, tablet, watch, laptop or in the automobile. This article evaluates some of the possibilities and constraints of producing music for Pod-dissemination.
This article presents observations pertaining to expressive visual design for computer music, focusing in particular on real-time integration of graphics and audio. The author describes specific projects as examples supporting a set of design principles that range from “user-oriented” to...
This article discusses how the digital age of music technologies has contributed to the transformation of the activities of music listening, highlighting cultural participation in distinct worlds through “adequate music.”
Following a series of technological breakthroughs and the proliferation of new, cloud-based media, listening in the 21st century has become dynamic, fragmented, interactive and distributed. Contemporary audiences are typically expected to traverse (big) music databases and, employing several...
While this article makes explicit connections with forms such as karaoke, it also offers insight into other areas of sonic instruction such as dance, exercise and gaming. More important, it begins to develop an explicit theoretical foothold on questions of record production and reception where...
The author, a composer, compares the experience of composing music to the experience of “just” listening and finds the point where these two meet: in the moment of hearing a new sound. The author provides examples as described by other composers and finds a consistency in the way they recall...
This article considers the distributed role that listening plays for both performer and audience in the process of discovering musical meaning in the context of electroacoustic improvisation through examination of particular emergent practices.
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