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New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. In this book, Benjamin Lapidus seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, Lapidus examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. For the first time, Lapidus studies this sound in detail and in its context. He offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, Lapidus treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, he recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.
The proceedings will constitute a review of recent investigations as related to the correlation between subjective and objective evaluation of sound, mainly within the range of psychoacoustics, room acoustics, music acoustics, speech, environment acoustics and electroacoustics. The proceedings will embrace invited lectures given by scientists of international reputation. The papers will be related to mathematically differentiated problems such as: projection of the physical parameters of sound in the process of perception; subjective and objective evaluation of loudness of sound of electro-acoustic transducers, of the quality of rooms/concert halls/, of noises, and the like.
Power amplifiers and their performance lie at the heart of audio engineering and provide some challenging problems for the engineer. Ben Duncan's experience, as an audio consultant, analog electronics designer and author, give him an unique insight into this difficult but rewarding field. Linking analog electronics, acoustics, heat and music technology; high-end hi-fi and professional PA and recording studio use; theory, modelling and real-world practice; design and repair; the old and the new, the mainstream and the specialised, this comprehensive guide to power amps is a core reference for anyone in the industry, and any interested onlookers. Ben Duncan is well known to many users of audio power amplifiers around the world, both professional and domestic, through his articles, reviews and research papers on music technology in the UK and US press, and through his part in creating several notable professional power amplifiers. Since 1977, he has been involved in the design of over 70 innovative, high-end audio products used by recording and broadcast studios, on stages, in clubs and by the most critical domestic listeners - as well as creating bespoke equipment for top musicians. Born in London, he has travelled widely but has lived mainly in Lincolnshire, home of his family for over 150 years. He is twice co-author of the book Rock Hardware in which he has chronicled the history of rock'n'roll PA. Reprinted with corrections September 1997 Comprehensive and colourful real-life guide Based on wide experience of audio and music technology Well-known and prolific author in the hi-fi and pro-audio press

Hearings

United States. Congress. House. Committee on Banking and Currency

Published: 1959

Total Pages: 1568


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In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience—music—the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.
Explores the various ways in which the institutions of the global economy might rise to the challenges posed by the twin goals of increasing the pace of global development and alleviating poverty. This book also provides a much-needed analysis of the successes and failures of international institutions in achieving these aims.
Handbook for Sound Engineers is the most comprehensive reference available for audio engineers. All audio topics are explored: if you work on anything related to audio you should not be without this book! The 4th edition of this trusted reference has been updated to reflect changes in the industry since the publication of the 3rd edition in 2002 -- including new technologies like software-based recording systems such as Pro Tools and Sound Forge; digital recording using MP3, wave files and others; mobile audio devices such as iPods and MP3 players. Over 40 topics are covered and written by many of the top professionals for their area in the field, including Glen Ballou on interpretation systems, intercoms, assistive listening, and image projection; Ken Pohlmann on compact discs and DVDs; David Miles Huber on MIDI; Dr. Eugene Patronis on amplifier design and outdoor sound systems; Bill Whitlock on audio transformers and preamplifiers; Pat Brown on fundamentals and gain structures; Ray Rayburn on virtual systems and digital interfacing; and Dr. Wolfgang Ahnert on computer-aided sound system design and acoustics for concert halls.