دانلود کتاب From Music to Sound: The Emergence of Sound in 20th- and 21st-Century Music

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Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
Foreword
Introduction
Sound, the audio culture and artistic practices focussing on sound
The emergence of sound in music
A plural history: from timbre to sound–space
Points
Acknowledgements
Notes
Chapter 1 On timbre
‘Timbre’
Defining timbre
From the origins of the word to Rousseau
Romantic musicians, orchestration treatises and positivists
Timbre as phenomenon of perception: a ‘map of timbres’
Towards the dissolution of the concept of timbre
Substituting timbre for pitch
Towards the emancipation of timbre
Klangfarbenmelodien
Timbre as central category
The utopia of a language of timbres
Extending harmony in timbre
Harmony and timbre
Chord-timbres
Composing timbre
Thresholds of perception
Timbre and sound
Chapter 1 online examples
Notes
Chapter 2 On noise
On noise
Noise as nuisance
Musical noises
Two histories of music
Dissonance
Bruitisms
The bruitist dilemma
‘Organised sound’
Musiques concrètes
Making noise musical
The musical potential of noise
Revolt, protest and social criticism
Free jazz
Rock
‘Touching a sound’
Noise and sound
Industrial music, metal, rap, New York Noise, radical improvisation…
Noise and construction
Electronic noises and Noise
Noise and sound
Chapter 2 online examples
Notes
Chapter 3 Listening (sounds)
Liberating listening
Happy new ears
Refocussing on listening
Free listening
Phenomenology of listening
A treatise of listening
For a phenomenology of listening
The four ways of listening
Reduced listening and the sound object
A multiplicity of ways to listen
Acousmatic
Composing from what one perceives
Listening and time
Authentic listening
Amplified listening
Equipped listening
Chapter 3 online examples
Notes
Chapter 4 Immersion in sound
The ‘inner’ life of sound
About ‘immersion’
Immersive sound–space
Immersion and ‘oceanic feeling’
Dionysian immersion
The ‘depth’ of sound
The ‘abyss’ of sound
Chapter 4 online examples
Notes
Chapter 5 Composing sound
The question of material
The historicity of material and the notion of material
Refocussing on material
Composing the material
Composed resonances
Change in listening
Éclats
Electroacoustic resonances
From rock to disco: the studio as site for the composition of sound
Electronic auras
Composed sonorities
‘Sonority’
Organised sound (2)
Continua
Textures, surfaces, masses
Process
Micro-composition
Sound syntheses
The granular paradigm
Chapter 5 online examples
Notes
Chapter 6 Sound–space
Representational space as operatory category
Composing the physical space
Towards the composability of space
Varèse and the pioneers of the 1950s and 1960s
The 1970s and 1980s
The 1990s–2000s
The composed sound–space: a typology test
Music, sound, place
Music and architecture
Sound installations and ‘audible ecosystems’
Towards the ecology of sound
Chapter 6 online examples
Notes
Conclusion
References
Index