LEADER 03481oam 22005534a 450 001 9910155605303321 005 20220721174839.0 010 $a1-55458-969-X 024 7 $a10.51644/9781554589692 035 $a(CKB)2550000001308332 035 $a(SSID)ssj0001700092 035 $a(PQKBManifestationID)16554428 035 $a(PQKBTitleCode)TC0001700092 035 $a(PQKBWorkID)15073408 035 $a(PQKB)25183274 035 $a(MiAaPQ)EBC4737058 035 $a(OCoLC)894172078 035 $a(MdBmJHUP)muse35598 035 $a(DE-B1597)667225 035 $a(DE-B1597)9781554589692 035 $a(EXLCZ)992550000001308332 100 $a20140714e20142014 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRepresenting Sound$b[electronic resource] $eNotes on the Ontology of Recorded Musical Communications /$fJay Hodgson with Steve MacLeod 210 1$aWaterloo, Ontario :$cWilfrid Laurier University Press,$d2014. 210 4$dİ2014 215 $a1 online resource (123 pages) $ccolor illustrations 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a1-306-82790-6 320 $aIncludes bibliographical references. 327 $tTable of Contents -- $tIntroduction -- $tSculptures -- $tAcoustic Iconography -- $tPsychoacoustic Profiles -- $tPsychoacoustic Encoding -- $tAudio Transduction -- $tThe Cybernetic -- $tConceptual Infrastructure -- $tInterpellation -- $tConjuring Tricks -- $tTracking I: Performance as Programming -- $tTracking II: Programming as Performance -- $tTracking III: Lateral Dynamics Processing -- $tConclusion -- $tAcknowledgements -- $tAbout the Authors 330 $aRepresenting Sound elucidates the base technical ontology, the machine essence, of every recorded musical communication. In so doing, it suggests the broad contours of an unprecedented theoretical basis for considering recording practice that posits no fundamental relationship between it and live performance. Representing Sound thus complicates common conceptions of sound to include different ontological states. This seemingly simple notion--that the acoustic phenomena we encounter in concert are, by nature, different from those we encounter when we listen to records--should have profound consequences for the way everyone, from musicologists to rock stars, considers recording practice. In the tradition of books like Marshall McLuhan's and Quentin Fiore's The Medium Is The Massage (1968), Representing Sound sets its text within more than one hundred original visual artworks, each designed to reinforce the essay's broader creative resonances. This allows readers to approach the larger ontological argument either atomistically (i.e., on a frame-by-frame basis) or holistically, depending on their creative or analytic needs. In this way, Representing Sound provides a possible model for creative scholarly work in the impending post-book era. 606 $aSound$xRecording and reproducing$xPsychological aspects 606 $aMusic$xPhilosophy and aesthetics 615 0$aSound$xRecording and reproducing$xPsychological aspects. 615 0$aMusic$xPhilosophy and aesthetics. 676 $a621.3893 700 $aHodgson$b Jay$f1976-$0891675 702 $aMacLeod$b Steve 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910155605303321 996 $aRepresenting Sound$91999294 997 $aUNINA