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This volume offers the first systematic exploration of the past as manifested in music of the later Middle Ages and the early modern period. It takes the reader on a journey of discovery across the continent, from the genesis of a new sense of a musical past in early thirteenth-century Paris to the complex and diverse roles and pedigrees given music of the past in sources, media, genres, communities, and regions in the Age of Reformations. Particular attention is given to the use of older styles and musical traditions in changing constructions of religious and political identity, laying the groundwork for a revised narrative of European music history that accommodates within its frame-work the full plurality of styles and regions found in the sources. The volume concludes with reflections on the conflicting appropriations and effects of the musical past today in composition, performance, musico-logical discourse, and tourism.
The author covers the development of the electronic musical instrument from Thaddeus Cahill's Telharmonium at the turn of the last century to the MIDI synthesizers of the 1990s. --book cover.
This book explores the connections between sound and memory across all electronic media, with a particular focus on radio. Street explores our capacity to remember through sound and how we can help ourselves preserve a sense of self through the continuity of memory. In so doing, he analyzes how the brain is triggered by the memory of programs, songs, and individual sounds. He then examines the growing importance of sound archives, community radio and current research using GPS technology for the history of place, as well as the potential for developing strategies to aid Alzheimer's and dementia patients through audio memory.
Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!
Sound studies has emerged as a major academic field in recent times. However, much of this material remains ahistorical or focused on technological advances of sound. This book departs from previous studies by drawing out connections between sound, memory and the senses, and how they emerge within a variety of historical contexts.
In 1915, Thomas Edison proclaimed that he could record a live performance and reproduce it perfectly, shocking audiences who found themselves unable to tell whether what they were hearing was an Edison Diamond Disc or a flesh-and-blood musician. Today, the equation is reversed. Whereas Edison proposed that a real performance could be rebuilt with absolute perfection, Pro Tools and digital samplers now allow musicians and engineers to create the illusion of performances that never were. In between lies a century of sonic exploration into the balance between the real and the represented. Tracing the contours of this history, Greg Milner takes us through the major breakthroughs and glorious failures in the art and science of recording. An American soldier monitoring Nazi radio transmissions stumbles onto the open yet revolutionary secret of magnetic tape. Japanese and Dutch researchers build a first-generation digital audio format and watch as their "compact disc" is marketed by the music industry as the second coming of Edison yet derided as heretical by analog loyalists. The music world becomes addicted to volume in the nineties and fights a self-defeating "loudness war" to get its fix. From Les Paul to Phil Spector to King Tubby, from vinyl to pirated CDs to iPods, Milner's Perfecting Sound Forever pulls apart musical history to answer a crucial question: Should a recording document reality as faithfully as possible, or should it improve upon or somehow transcend the music it records? The answers he uncovers will change the very way we think about music.
In recent decades, the importance of sound for remembering the past and for creating a sense of belonging has been increasingly acknowledged. We keep "sound souvenirs" such as cassette tapes and long play albums in our attics because we want to be able to recreate the music and everyday sounds we once cherished. Artists and ordinary listeners deploy the newest digital audio technologies to recycle past sounds into present tunes. Sound and memory are inextricably intertwined, not just through the commercially exploited nostalgia on oldies radio stations, but through the exchange of valued songs by means of pristine recordings and cultural practices such as collecting, archiving and listing. This book explores several types of cultural practices involving the remembrance and restoration of past sounds. At the same time, it theorizes the cultural meaning of collecting, recycling, reciting, and remembering sound and music.
Hearing History is a long-needed introduction to the basic tenets of what is variously termed historical acoustemology, auditory culture, or aural history. Gathering twenty-one of the fields most important writings, this volume will deepen and broaden our understanding of changing perceptions of sound and hearing and the ongoing education of our senses. The essays stimulate thinking on key questions: What is aural history? Why has vision tended to triumph over hearing in historical accounts? How might we begin to reclaim the sounds of the past? With theoretical and practical essays on the history of sound and hearing in Europe and the United States, the book draws on historical approaches ranging from empiricism to postmodernism. Some essays show the historian of technology at work, others highlight how With theoretical and practical essays on the history of sound and hearing in Europe and the United States, the book draws on historical approaches ranging from empiricism to postmodernism. Some essays show the historian of technology at work, others highlight how military, social, intellectual, and cultural historians have tackled historical acoustemologies. Investigating soundscapes that include a Puritan meetinghouse in colonial New England, the belfries of a French village at the close of the Old Regime, the court hall of Elizabeth I, and a Civil War battlefield, the essays vary just as widely in their topics, which include noise as a marker of social and cultural differences, the privileging of music as the sound of art, the persistence of Aristotelian ideas of sound into the seventeenth century, developments in sound related to medical practice, the advent of sound-recording technology, and noise pollution.
An indispensable study of nineteenth-century German music, history and nationalism. Music played a central role in the self-conception of middle-class Germans between the March Revolution of 1848 and the First World War. Although German music was widely held to be 'universal' and thus apolitical, it participated- like the other arts - in the historicist project of shaping the nation's future by calling on the national heritage. Compositions based on - often heavily mythologised - historical events and heroes, such as the Battle of the Teutoburg Forest or the medieval Emperor Barbarossa, invited individual as well as collective identification and brought alive a past that compared favourably with contemporary conditions. History in Mighty Sounds mapsout a varied picture of these 'invented traditions' and the manifold ideas of 'Germanness' to which they gave rise, exemplified through works by familiar composers like Max Bruch or Carl Reinecke as well as their nowadays little-known contemporaries. The whole gamut of musical genres, ranging from pre- and post-Wagnerian opera to popular choruses to symphonic poems, contributes to a novel view of the many ways in which national identities were constructed, shaped and celebrated in and through music. How did artists adapt historical or literary sources to their purpose, how did they negotiate the precarious balance of aesthetic autonomy and political relevance, and how did notions of gender, landscape and religion influence artistic choices? All musical works are placed within their broader historical and biographical contexts, with frequent nods to other arts and popular culture. History in Mighty Sounds will be indispensable reading for anyone interested in nineteenth-century German music, history and nationalism. Barbara Eichner is Senior Lecturer in Musicology at Oxford Brookes University.