By Lars Nyre
ISBN-10: 0203869052
ISBN-13: 9780203869055
ISBN-10: 041539113X
ISBN-13: 9780415391139
Sound Media considers how tune recording, radio broadcasting and muzak impact people's day-by-day lives and introduces the numerous and sundry inventive options that experience built in song and journalism through the 20th century. Lars Nyre begins with the modern cultures of sound media, and works again to the archaic soundscapes of the 1870s. the 1st a part of the booklet devotes 5 chapters to modern electronic media, and provides the net, the private laptop, electronic radio (news and speak) and diverse kinds of loudspeaker media (muzak, DJ-ing, clubbing and dad systems). the second one half examines the ancient accumulation of options and sounds in sound media, and offers multitrack tune within the Sixties, the golden age of radio within the Fifties and again to the Nineteen Thirties, microphone recording of track within the Thirties, the experimental section of instant radio within the 1910s and 1900s, and the discovery of the gramophone and phonograph within the overdue 19th century. Sound Media features a soundtrack CD with thirty-six examples from broadcasting and track recording in Europe and the us, from Edith Piaf to Sarah Cox, and is richly illustrated with figures, timelines and technical drawings.
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Extra info for Sound Media: From Live Journalism to Music Recording
Example text
The rest of the family is never far away in the home environment, and most of us can relate to the constant negotiation among family members about what should be on: the TV or the radio, rock music or hip-hop, loud music or quiet music, and so on (Morley 2000). The car environment is portable, and the stereo, radio and loudspeakers are built into the interior of the vehicle. It is a small enclosure with very little resonance, but speakers are custom made and there can be fabulous fidelity in a well-equipped car.
Emotional qualities such as charisma, charm and character are the main communicative tools. The speaker tries to come across as a unique individual, so that nobody else could replace them. A side effect of this impression is that listeners can also hold the speaker personally responsible for their words and actions, since, unlike the weather forecaster, they presume to be speaking only in the capacity of being themselves. They can rightfully be blamed or credited for all aspects of their presentation.
In October 2006 the following comment was posted on God vs. the Internet’s area on Acidplanet by a person called Paul D. Richardson: ‘Sorry if this is harsh, but that was the worst thing I’ve ever heard. ’ The BBC’s acoustic authority Now there will be a stark contrast to amateur journalism and amateur music. The professional productions of broadcasters and the music industry have been under siege by the internet since the early 1990s (there are many analyses of this convergence; see for example Lowe and Jauert 2005; Leandros 2006; Kretschmer et al.
Sound Media: From Live Journalism to Music Recording by Lars Nyre
by Edward
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