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Building on ideas from cognitive metaphor theory, Making Sense of Recordings offers a new perspective on record production, music perception, and the aesthetics of recorded sound. It shows how the language about sound is intimately connected to sense-making - both as a reflection of our internal cognitive capacities and as a component of our extended cognitive system. In doing so, the book provides the foundation for a broader understanding of the history of listening, discourses of sound quality, and artistic practices in the age of recorded music. The book will be of interest to anyone who asks how recorded music sounds and why it sounds as it does, and it will be a valuable resource for musicology students and researchers interested in the analysis of sound and the history of listening and record production. Additionally, sound engineers and laptop musicians will benefit from the book's exploration of the connection between embodied experiences and our cognitively processed experiences of recorded sound. The tools provided will be useful to these and other musicians who wish to intuitively interact with recorded or synthesized sound in a manner that more closely resembles the way they think and that makes sense of what they do.
Building on ideas from cognitive metaphor theory, Making Sense of Recordings offers a new perspective on record production, music perception, and the aesthetics of recorded sound. It shows how the language about sound is intimately connected to sense-making - both as a reflection of ourinternal cognitive capacities and as a component of our extended cognitive system. In doing so, the book provides the foundation for a broader understanding of the history of listening, discourses of sound quality, and artistic practices in the age of recorded music. The theoretical and historicalfoundations are presented in the first part of the book and they are followed by discussions of specific sound quality descriptors in an expanded Encyclopedia of sound-describing terms.The book will be of interest to anyone who asks how recorded music sounds and why it sounds as it does, and it will be a valuable resource for musicology students and researchers interested in the analysis of sound and the history of listening and record production. Additionally, sound engineers andlaptop musicians will benefit from the book's exploration of the connection between embodied experiences and our cognitively processed experiences of recorded sound. The tools provided will be useful to these and other musicians who wish to intuitively interact with recorded or synthesized sound ina manner that more closely resembles the way they think and that makes sense of what they do.
The literature dealing with the auditory impact of studio-based practices and technologies on the listening experience is scattered and mainly comprises specialised articles inaccessible to most audio professionals and students. 'Making Sense of Recordings' addresses this problem by offering a comprehensive account of sound quality in recorded music. The text presents analytical tools to evaluate recorded sound and describes how the listening experience is reflected, often metaphorically, in language.
Interpreting an ECG correctly and working out what to do next can seem like a daunting task to the non-specialist, yet it is a skill that will be invaluable to any doctor, nurse or paramedic when evaluating the condition of a patient. Making Sense of the ECG has been written specifically with this in mind, and will help the student and more experienced healthcare practitioner to identify and answer crucial questions. This popular, easy-to-read and easy-to-remember guide to the ECG as a tool for diagnosis and management has been fully updated in its fifth edition to reflect the latest guidelines.
Making Sense of the ECG: Cases for Self-Assessment presents everything you need to assess your ability to interpret ECGs accurately, perform differential diagnosis, and decide upon the most appropriate clinical management in each situation. The patients' history, examination and initial investigations are presented along with questions on the ECG i
The Third Edition of this introduction to research for students and professionals in health and social care now contains material on literature searching techniques, meta-analysis, data protection, and critical appraisal tools. Many people find research concepts difficult to grasp, but this book makes it easy by providing a straightforward guide to the basics. Topics covered include: - the role of research in health and social care - the research process - quantitative and qualitative approaches - how to develop critical skills, and - implementing research findings. The book also features a glossary of research terms and a critical appraisal framework.
Winner, ASA (American Society for Aesthetics) 2023 Outstanding Monograph Prize For Theodore Gracyk meaning in popular music depends as much on the context of reception and performer's intentions as on established musical and semantic practices. Songs are structures that serve as the scaffolding for meaning production, influenced by the performance decisions of the performer and their intentions. Arguing against prevailing theories of meaning that ignore the power of the performance, Gracyk champions the contextual relevance of the performer as well as novel messaging through creative repurposing of recordings. Extending the philosophical insight that meaning is a function of use, Gracyk explains how both the performance persona and the personal life of a song's performer can contribute to (or undercut) ethical and political aspects of a performance or recording. Using Carly Simon's “You're So Vain”, Pink Floyd, the emergence of the musical genre of post-punk and the practice of “cover” versions, Gracyk explores the multiple, sometimes contradictory, notions of authenticity applied to popular music and the conditions for meaningful communication. He places popular music within larger cultural contexts and examines how assigning a performance or recording to one music genre rather than another has implications for what it communicates. Informed by a mix of philosophy of art and philosophy of language, Gracyk's entertaining study of popular music constructs a theoretical basis for a philosophy of meaning for songs.
Mind-game films and other complex narratives have been a prominent phenomenon of the cinematic landscape during the period 1990-2010, when films like The Sixth Sense, Memento, Fight Club and Source Code became critical and commercial successes, often acquiring a cult status with audiences. With their multiple story lines, unreliable narrators, ambiguous twist endings, and paradoxical worlds, these films challenge traditional ways of narrative comprehension and in many cases require and reward multiple viewings. But how can me make sense of films that don't always make sense the way we are used to? While most scholarship has treated these complex films as narrative puzzles that audiences solve with their cognitive skills, Making Sense of Mind-Game Films offers a fresh perspective by suggesting that they appeal to the body and the senses in equal measures. Mind-game films tell stories about crises between body, mind and world, and about embodied forms of knowing and subjective ways of being-in-the-world. Through compelling in-depth case studies of popular mind-game films, the book explores how these complex narratives take their (embodied) spectators with them into such crises. The puzzling effect generated by these films stems from a conflict between what we think and what we experience, between what we know and what we feel to be true, and between what we see and what we sense.
Featuring fascinating accounts from practitioners, this Companion examines how developments in recording have transformed musical culture.
This volume explores the methodological issues related to audio documentary, it also provides readers with practical guidance on how to produce their own audio projects