In Sounds as They Are, author Richard Beaudoin recognizes the often-overlooked sounds made by the bodies of performers and their recording equipment as music and analyzes these sounds using a bold new theory of inclusive track analysis (ITA). In doing so, he demonstrates new expressive, interpretive, and embodied possibilities and also uncovers insidious inequalities across music studies and the recording industry, including the silencing of certain sounds along lines of gender and race.
In Sounds as They Are, author Richard Beaudoin recognizes the often-overlooked sounds made by the bodies of performers and their recording equipment as music and analyzes these sounds using a bold new theory of inclusive track analysis (ITA). In doing so, he demonstrates new expressive, interpretive, and embodied possibilities and also uncovers insidious inequalities across music studies and the recording industry, including the silencing of certain sounds along lines of gender and race.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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Autorenporträt
Richard Beaudoin analyses audio recordings and uses his research to create scholarship and compose new music. He has held posts as Preceptor in Music at Harvard University, The Joseph E. and Grace W. Valentine Visiting Assistant Professor of Music at Amherst College, and Visiting Research Fellow at the Royal Academy of Music, London. He is currently Assistant Professor of Music at Dartmouth College.
Inhaltsangabe
Acknowledgements INTRODUCTION Four octaves and one breath Defining unwritten music Why classical recordings? Categorizing unwritten music Five notes CHAPTER 1. The Aesthetics and Ethics of Unwritten Music Sound recordings as documents Questioning "intelligent suppression" Everything that sounds simultaneously An unwritten note A series of enigmatic clicks A decisive inhale Five analogies The reception of unwritten music The empathetic dimension CHAPTER 2. Sounds of Breath Breath sounds as music Breath as rhetoric Breath as anacrusis Breath as expectation Breath within motive Breath as climax Breath as phrase marker Breath as narration CHAPTER 3. Sounds of Touch Touch sounds as music Fingernails and motive Foreshadowing fingertips Dancing fingerfalls Squeaking shifts Percussive valve clacks Chair creaks Podium stamps Timbral damper pedals CHAPTER 4. Sounds of Effort Sounded effort as music Sound, sex, and somaesthetics Climactic exertions 1: The exultant holler Climactic exertions 2: The tense moan Climactic exertions 3: Grunt lead Intimate exertions 1: Subtle vocalizing Intimate exertions 2: Emphatic panting Intimate exertions 3: Stifled grunting A thoroughgoing growl Moans as indicators of phrase Grunts unheard CHAPTER 5. Surface Noise Surface noise as music Listening with Recordings as carta Six modes of interaction Performance-centricity Narrative asynchrony Ekphrastic (non)coincidence Expressive synchronicity Metaphoric development Surface noise-centricity CHAPTER 6. Inclusive Track Analysis Attentional flexibility Reading what was never written Inclusive track analysis: A pragmatic framework Beyond classical tracks Les sons tels qu'ils sont Discography Bibliography Index
Acknowledgements INTRODUCTION Four octaves and one breath Defining unwritten music Why classical recordings? Categorizing unwritten music Five notes CHAPTER 1. The Aesthetics and Ethics of Unwritten Music Sound recordings as documents Questioning "intelligent suppression" Everything that sounds simultaneously An unwritten note A series of enigmatic clicks A decisive inhale Five analogies The reception of unwritten music The empathetic dimension CHAPTER 2. Sounds of Breath Breath sounds as music Breath as rhetoric Breath as anacrusis Breath as expectation Breath within motive Breath as climax Breath as phrase marker Breath as narration CHAPTER 3. Sounds of Touch Touch sounds as music Fingernails and motive Foreshadowing fingertips Dancing fingerfalls Squeaking shifts Percussive valve clacks Chair creaks Podium stamps Timbral damper pedals CHAPTER 4. Sounds of Effort Sounded effort as music Sound, sex, and somaesthetics Climactic exertions 1: The exultant holler Climactic exertions 2: The tense moan Climactic exertions 3: Grunt lead Intimate exertions 1: Subtle vocalizing Intimate exertions 2: Emphatic panting Intimate exertions 3: Stifled grunting A thoroughgoing growl Moans as indicators of phrase Grunts unheard CHAPTER 5. Surface Noise Surface noise as music Listening with Recordings as carta Six modes of interaction Performance-centricity Narrative asynchrony Ekphrastic (non)coincidence Expressive synchronicity Metaphoric development Surface noise-centricity CHAPTER 6. Inclusive Track Analysis Attentional flexibility Reading what was never written Inclusive track analysis: A pragmatic framework Beyond classical tracks Les sons tels qu'ils sont Discography Bibliography Index
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