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First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
The second edition of Sound Practice looks afresh at how young children can be helped to discover basic facts about an alphabetic spelling system, within the context of their developing spoken language. It examines why children might fail to understand letter-sound links; the origins of severe and persistent difficulties with achieving functional literacy skills; and developmental processes underpinning the areas of learning identified in national initiatives for promoting children's learning. The book also discusses the need for differentiation strategies to respond to individual children's learning needs within national initiatives, and techniques and approaches that can be effectively applied to fulfil curriculum objectives. Phonological awareness is the key to independent literacy and must be explicitly tackled in the classroom in order to promote early reading and writing and to address written language difficulties in older children. This book is a suitable resource for initial and in-service training for teachers and teaching assistants and includes photocopiable worksheets.
The sound recording industry encompasses musicians, acousticians, electronic engineers, and broadcasters. A full understanding of the specialised equipment used to record, transmit, and reproduce speech and music, and of the operational techniques which have been evolved over half a century, can be achieved only in the present type of multiple author handbook. Addressing the user rather than the designer or manufacturer, the specialist authors here assembled explain and describe their own approach to their particular part of the industry. In sum, therefore, their book provides a comprehensive guide to each link in the recording chain which students, practitioners, and new entrants to the world of recording will find stimulating and informative. This fourth edition has been comprehensively updated to take account of the many rapid advances in recording techniques, computer-controlled equipment, new digital recording formats, and the proliferation of consumer audio/video media.
The second edition of Sound Practice looks afresh at how young children can be helped to discover basic facts about an alphabetic spelling system, within the context of their developing spoken language. It examines why children might fail to understand letter-sound links; the origins of severe and persistent difficulties with achieving functional literacy skills; and developmental processes underpinning the areas of learning identified in national initiatives for promoting children's learning. The book also discusses the need for differentiation strategies to respond to individual children's learning needs within national initiatives, and techniques and approaches that can be effectively applied to fulfil curriculum objectives. Phonological awareness is the key to independent literacy and must be explicitly tackled in the classroom in order to promote early reading and writing and to address written language difficulties in older children. This book is a suitable resource for initial and in-service training for teachers and teaching assistants and includes photocopiable worksheets.
An introduction to the concepts and principles of sound design practice, with more than 175 exercises that teach readers to put theory into practice. This book offers an introduction to the principles and concepts of sound design practice, from technical aspects of sound effects to the creative use of sound in storytelling. Most books on sound design focus on sound for the moving image. Studying Sound is unique in its exploration of sound on its own as a medium and rhetorical device. It includes more than 175 exercises that enable readers to put theory into practice as they progress through the chapters.
Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be effected by profound attention to the sonic environment . Deep Listening(R) is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats. Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web.
Since the late 1980's, many OECD governments have invested heavily in improving the quality of their debt management practices. In recent years, the topic has received additional attention for its potential role in reducing the vulnerability of emerging economies to financial and economic shocks. A government asset and liability management framework can offer valuable conceptual insights for managing the risks associated with government debt portfolios and their interface with a wide range of public policy issues. Prudent risk management requires clear objectives or debt managers, sound institutional and legal framework, appropriate quality assurance procedures and checks and balances, and efficient management information systems. This report draws from the experiences of leading countries in this field.
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To be a musician is to "speak music." When you have something to say and the means to say it, your gestures and sounds become both meaningful and free. Offering an innovative, comprehensive approach to musicians' health and wellbeing, Integrated Practice gives you the tools to combine total-body awareness with a deep and practical understanding of the rhythmic structure of the musical language, so that you can use the musical text itself as your guide toward psychophysical and creative freedom. The book shows you how to establish an imaginative dialogue between the relatively inflexible structure of music and your individual personality as a singer, instrumentalist, or conductor, and it explains how you can use the acoustic phenomenon of the harmonic series to make big, beautiful sounds with little muscular effort. Integrated Practice comes with more than a hundred and fifty exercises demonstrated by video and audio clips on an extensive companion website that will inform your daily practice, improvising, rehearsing, and performing. With this array of resources for every learning style, Integrated Practice is the essential handbook to personal achievement in successful, expressive musical performance.
Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music. Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrète Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to %Zi%zek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice. The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses.