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Gathering anonymous testimonies from artists of different backgrounds into a single stream of (often contrary) opinions, the book addresses discrimination as a paradigm of otherness, the possibility of gendered music and sound art, and how sound artists and musicians navigate the field. The Second Sound raises questions such as: How do life circumstances find their way into music and sound art? How does music reflect historical and social structures? What does discrimination do, and how can we navigate around it? Is the under-representation of women and LGBTQ people in the field a symptom or a cause? Is art itself gendered? And can it reflect the gender of its maker? Is a different way of listening needed to more accurately understand those voices from outside the historical canon? Although this book raises more questions than it answers, it came to be a pledge for embracing artistic differences, for the richness of contextual listening, and for honesty in the expression of concerns and doubts. The responses seem to suggest that understanding differences by theme and not as predetermination is a way to provide freedom in a field of seemingly abstract art.
Gender, voice, language and identity are particularly pertinent topics for musical creation--for the shaping of a canon, and for interactions in the field. All four are strongly contextually determined, and necessarily raise issues of paradigms and otherness. In Grounds for Possible Music, these four core notions serve as a set of lenses permitting different perspectives on one another. Some 20 sound artists, whose work varies in form, strategy and language, and in sub-fields within the sound arts, explore these questions--among them Antye Greie, Andrea Parkins, Aurélie Lierman, Bonnie Jones, Cathy Lane, Susanne Kirchmayr, Felicity Ford, Heimo Lattner, Jaume Ferrete Vázquez, Judith Laub and Marc Matter.
"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.
The Encyclopedia of Thermal Stresses is an important interdisciplinary reference work. In addition to topics on thermal stresses, it contains entries on related topics, such as the theory of elasticity, heat conduction, thermodynamics, appropriate topics on applied mathematics, and topics on numerical methods. The Encyclopedia is aimed at undergraduate and graduate students, researchers and engineers. It brings together well established knowledge and recently received results. All entries were prepared by leading experts from all over the world, and are presented in an easily accessible format. The work is lavishly illustrated, examples and applications are given where appropriate, ideas for further development abound, and the work will challenge many students and researchers to pursue new results of their own. This work can also serve as a one-stop resource for all who need succinct, concise, reliable and up to date information in short encyclopedic entries, while the extensive references will be of interest to those who need further information. For the coming decade, this is likely to remain the most extensive and authoritative work on Thermal Stresses.
The Physics of Sound Waves: Music, Instruments, and Sound Equipment, Second Edition describes the properties of sound waves as they relate to the production of sound by musical instruments, the perception and interpretation of sound, fast Fourier transform analysis, recording and reproduction of musical sounds, and the quality of sound in both indoor and outdoor environments. Graphics and animations are used to explain sound production in strings, percussion and wind instruments, and this knowledge is applied to describe selected instruments. Each chapter has topics for further discussion and concludes with questions and problems. Solutions for all questions and problems as well as a mathematical description of waves are provided in the appendix. Key Features Provides the basic understanding of musical sounds and the nature of sound waves. Includes musical scales with examples from around the world. Discusses digital sounds and its relevance. The book provides many worked examples, and end of chapter problems with solutions in the appendix. Applicable equations are summarized at the end of each chapter.
Drawing on insights from the modern "process" philosophy of Bergson, William James, and A. N. Whitehead, Christopher Hasty's Meter as Rhythm releases meter from its mechanistic connotations and recognizes it as a concrete, visceral agent of musical expression. Hasty reinterprets oppositions of law and freedom, structure and process, determinacy and indeterminacy to form a theory that engages diverse repertories and aesthetic issues. The revised 20th anniversary edition facilitates the work's current contexts of application, from new subfields in ethnomusicology and music cognition to non-music fields like literary studies, physics, and biology.
There is increasing interest in understanding the interplay of emotional and cognitive processes. The objective of the Research Topic was to provide an interdisciplinary survey of cutting-edge neuroscientific research on the interaction and integration of emotion and cognition in the brain. The following original empirical reports, commentaries and theoretical reviews provide a comprehensive survey on recent advances in understanding how emotional and cognitive processes interact, how they are integrated in the brain, and what their implications for understanding the mind and its disorders are. These works encompasses a broad spectrum of populations and showcases a wide variety of paradigms, measures, analytic strategies, and conceptual approaches. The aim of the Topic was to begin to address several key questions about the interplay of cognitive and emotional processes in the brain, including: what is the impact of emotional states, anxiety and stress on various cognitive functions? How are emotion and cognition integrated in the brain? Do individual differences in affective dimensions of temperament and personality alter cognitive performance, and how is this realized in the brain? Are there individual differences that increase vulnerability to the impact of affect on cognition—who is vulnerable, and who resilient? How plastic is the interplay of cognition and emotion? Taken together, these works demonstrate that emotion and cognition are deeply interwoven in the fabric of the brain, suggesting that widely held beliefs about the key constituents of ‘the emotional brain’ and ‘the cognitive brain’ are fundamentally flawed. Developing a deeper understanding of the emotional-cognitive brain is important, not just for understanding the mind but also for elucidating the root causes of its many debilitating disorders.