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What is it that oral historians do? Prior to the publication of Envelopes of Sound oral history was regarded as an archival practice and interviews were considered the repositories of data. Envelopes shows that the interview is a series of dialectical relationships embedded in language, social practice, and historical imagination. It merges theory and method through the analysis of the basic structures of the interview. It incorporates new thinking on the nature of narrative and conversation, and it covers new ground in examining fieldwork in a number of disciplines. While strongly theoretical, it also has direct application in conducting oral history interviews. Ronald Grele is the dean of oral history in the United States, and Envelopes of Sound is the volume by which others will continue to be judged. Its contributions to methods and to meaning are still the place to start a serious discussion, whether with scholars or with high school students interviewing their grandparents. Paul M. Buhle Director, Oral History of the American Left New York University Grele's early, groundbreaking book on oral history remains a classic. It continues to challenge the practitioner to be more self-conscious of and attentive to the nuances of the oral history interview. Sherna Berger Gluck Director, Oral History California State University, Long Beach What is it that oral historians do? Prior to the publication of Envelopes of Sound oral history was regarded as an archival practice and interviews were considered the repositories of data. Envelopes shows that the interview is a series of dialectical relationships embedded in language, social practice, and historical imagination. It calls upon oral historians to begin to step back, to think seriously about what it is they do, and to ask what kind of documentation it is that they produce and how they can make it better. This volume merges theory and method through the analysis of the basic structures of the interview. It incorporates new thinking on the nature of narrative and conversation, and it covers new ground in examining fieldwork in a number of disciplines. While strongly theoretical, it also has direct application in conducting oral history interviews. It moves from relatively easy and simple considerations to increasingly complex issues. Envelopes of Sound can be used by a variety of students in discplines ranging from history and sociology to anthropology and contemporary literature, and it can be used in a variety of ways to raise issues on a number of theoretical levels.
An integrated overview of hearing and the interplay of physical, biological, and psychological processes underlying it. Every time we listen—to speech, to music, to footsteps approaching or retreating—our auditory perception is the result of a long chain of diverse and intricate processes that unfold within the source of the sound itself, in the air, in our ears, and, most of all, in our brains. Hearing is an "everyday miracle" that, despite its staggering complexity, seems effortless. This book offers an integrated account of hearing in terms of the neural processes that take place in different parts of the auditory system. Because hearing results from the interplay of so many physical, biological, and psychological processes, the book pulls together the different aspects of hearing—including acoustics, the mathematics of signal processing, the physiology of the ear and central auditory pathways, psychoacoustics, speech, and music—into a coherent whole.
How To Make A Noise: a Comprehensive Guide to Synthesizer Programming is perhaps the most widely ready book about synthesizer sound programming. It is a comprehensive, practical guide to sound design and synthesizer programming techniques using: subtractive (analog) synthesis; frequency modulation synthesis (including phase modulation and ring modulation); additive synthesis; wave-sequencing; sample-based synthesis.
The Campers Get A Behind The Scenes Tour Of The Post Office And A Special Delivery. Leveled Phonics Picture Book Reader. Contains Comprehension And Word Study Activities, Words To Know Before You Read, Picture Glossary, Pronunciation Guide, Definition, And Tips For Reading. Inside Front And Back Cover Teacher And Parent Support.
This book is divided into two parts. The chapters in Part I offer a comprehensive introduction to the C language and to fundamental programming concepts, followed by an explanation of realtime audio programming, including audio synthesis and processing. The chapters in Part II demonstrate how the object-oriented programming paradigm is useful in the modelling of computer music instruments, each chapter shows a set of instrument components that are paired with key C++ programming concepts. Ultimately the author discusses the development of a fully-fledged object-oriented library. Together with its companion volume, Computer Music Instruments: Foundations, Design and Development, this book provides a comprehensive treatment of computational instruments for sound and music. It is suitable for advanced undergraduate and postgraduate students in music and signal processing, and for practitioners and researchers. Some understanding of acoustics and electronic music would be helpful to understand some applications, but it's not strictly necessary to have prior knowledge of audio DSP or programming, while C / C++ programmers with no experience of audio may be able to start reading the chapters that deal with sound and music computing.
This book contains a complete and accurate mathematical treatment of the sounds of music with an emphasis on musical timbre. The book spans the range from tutorial introduction to advanced research and application to speculative assessment of its various techniques. All the contributors use a generalized additive sine wave model for describing musical timbre which gives a conceptual unity, but is of sufficient utility to be adapted to many different tasks.
"A mouse took a stroll through the deep dark wood. A fox saw the mouse and the mouse looked good."Walk further into the deep dark wood, and discover what happens when the quick-thinking mouse comes face to face with an owl, a snake and a hungry gruffalo . . . Julia Donaldson and Axel Scheffler's The Gruffalo has become a bestselling phenomenon across the world. This award-winning rhyming story of a mouse and a monster is now a modern classic, and will enchant children for years to come.
Making Music With Samples is packed with creative, hands-on tips - aimed at getting the reader actively enjoying the art of sampling as quickly and easily as possible - interspersed with snippets of essential theoretical stuff: whether it's the science of sound, or copyright legalities. Starting with the absolute basics of what sampling is, author Dan Duffell progresses from simpler, widely-used tools like small loop-based samplers, through the various platforms available to the sample user - the different methods and equipment required to create and manipulate samples, including: hardware samplers, sampling/keyboard workstations, computer setups, software samplers, drum samplers, etc. He then describes the setting up procedures needed to get you started - connections and installation, signal levels and so on - at the same time providing some relevant background information on how a sampler actually works. Next: choosing source material - whether created you, or from sample CDs like the one attached, or from other people's recordings - which inevitably also raises the thorny subject of copyright and licensing: sampling and the law.Then there's a section depicting the basic layout and operation of some well-known software and hardware samplers, and a look at Sampling & Synthesis and Modular Systems...
Refining Sound is a practical roadmap to the complexities of creating sounds on modern synthesizers. Perhaps the most difficult aspect of learning to create sounds on a synthesizer is understanding what all the individual synthesizer components contribute to the complex finished sound. Author and veteran synthesizer instructor Brian K. Shepard draws on his years of experience in synthesizer pedagogy in order to peel back the often-mysterious layers of sound synthesis one-by-one. The result is a book that allows readers to familiarize themselves with each individual step in the synthesis process, in turn empowering them in their own creative or experimental work. Refining Sound follows the stages of synthesis in chronological progression from the "raw materials" of sound waves through the various stages of the refinement process, ultimately bringing readers to the final "polishing" of their sounds with audio effects. Each chapter focuses on a particular aspect of the synthesis process, and contains easily digestible guided projects (entitled "Your Turn" sections) that focus on the topics of the chapter. Throughout the text, the material is supported by copious examples and illustrations and more than forty interactive synthesis demonstrations on the related companion website that allow the reader to experiment with and understand these concepts without the distraction of other synthesizer controls and modifiers. The final chapter brings everything together as the reader creates several common types of synthesizer sounds with detailed step-by-step instructions and explanations of the concepts behind those steps. With all of the sounds in the final chapter, readers are given suggestions and tips on ways to modify the sounds, with final outcomes left to the readers' own creativity. Refining Sound is essential for all electronic musicians from amateur to professional levels of accomplishment, students, teachers, libraries, and anyone interested in creating sounds on a synthesizer.
Emergent readers will learn to recognize vowel blends through short sentences and full-color photographs that illustrate the vowel blended word used in the sentence..