Full Product Details
Author: Paul Théberge (Carleton University, Canada) ,
Kyle Devine (University of Oxford, UK) ,
Tom Everrett (Carleton University, Canada)
Publisher: Bloomsbury Publishing PLC
Imprint: Bloomsbury Academic
Dimensions:
Width: 15.20cm
, Height: 2.00cm
, Length: 22.90cm
Weight: 0.472kg
ISBN: 9781623566654
ISBN 10: 1623566657
Pages: 298
Publication Date: 26 March 2015
Audience:
General/trade
,
Professional and scholarly
,
College/higher education
,
General
,
Professional & Vocational
Format: Paperback
Publisher's Status: Active
Availability: Manufactured on demand
We will order this item for you from a manufactured on demand supplier.
Reviews
In this volume, Theberge, Devine and Everett have gathered together a fascinating body of writing on the technical, psychological and social construction of stereo. The collection represents another important step in the growing body of scholarship on how recorded music differs from music on the concert stage and in the score. While the individual chapters provide some fine grained detail, the editors have situated them into the broader context of the burgeoning new discipline of sound studies. Dr. Simon Zagorski-Thomas, Co-Chair of the Association for the Study of the Art of Record Production & Reader in Music, London College of Music, UK This timely, rich and compelling book traces the staging of auditory perspective and experience in stereo sound at home, the concert hall, the cinema and beyond. It situates stereo sound so carefully in historical and contemporary cultures of science, commerce and listening that the book is itself a sweet spot in studies of sound and music. Karin Bijsterveld, Professor of Science, Technology & Modern Culture, Maastricht University, Netherlands
In this volume, Theberge, Devine and Everrett have gathered together a fascinating body of writing on the technical, psychological and social construction of stereo. The collection represents another important step in the growing body of scholarship on how recorded music differs from music on the concert stage and in the score. While the individual chapters provide some fine grained detail, the editors have situated them into the broader context of the burgeoning new discipline of sound studies. Dr. Simon Zagorski-Thomas, Co-Chair of the Association for the Study of the Art of Record Production & Reader in Music, London College of Music, UK This timely, rich and compelling book traces the staging of auditory perspective and experience in stereo sound at home, the concert hall, the cinema and beyond. It situates stereo sound so carefully in historical and contemporary cultures of science, commerce and listening that the book is itself a sweet spot in studies of sound and music. Karin Bijsterveld, Professor of Science, Technology & Modern Culture, Maastricht University, Netherlands Sound technology is increasingly understood as sound technologies. There is no single technology that informs the recording and reproduction of sound, but a vast array of different technologies, drawn from the separate fields of telephony, music recording, radio, film, television, and gaming, not to mention military applications of sound technology used in sonar equipment. As the study of individual sound technologies has evolved into the new field of sound studies, scholars have begun to rethink the relations between and among different forms of sound technology. Living Stereo provides a site and a topic that serves as an exemplary model of recent scholarship on sound from the vantage point of outstanding scholars drawn from an array of disparate fields. The result is a multi-channel portrait-perhaps soundscape would be a better term--of stereophonic sound from the 1880s to the present. John Belton, Professor of English and Film, Rutgers University, USA Like the best of anthologies, Living Stereo not only brings together a broad array of exciting work on its subject but also suggests that much work remains to be done. Rather than simply previewing the essays that follow, the introduction provides a conceptual basis for future engagements with stereo (and indeed other media technologies) in terms of technological practices, systems of cultural assumptions, and the intersection of commercial constraints and the logistics of listening. Steve Wurtzler, Professor of Cinema Studies, Colby College, USA
In this volume, Th berge, Devine and Everett have gathered together a fascinating body of writing on the technical, psychological and social construction of stereo. The collection represents another important step in the growing body of scholarship on how recorded music differs from music on the concert stage and in the score. While the individual chapters provide some fine grained detail, the editors have situated them into the broader context of the burgeoning new discipline of sound studies. Dr. Simon Zagorski-Thomas, Co-Chair of the Association for the Study of the Art of Record Production & Reader in Music, London College of Music, UK
Author Information
Paul Theberge is a Professor cross-appointed to the Institute for Comparative Studies in Literature, Art and Culture (where he was formerly Canada Research Chair and Director) and to the School for Studies in Art and Culture (Music) at Carleton University, Canada. Kyle Devine is Lecturer in Music at City University London, and a research associate with the Music and Digitisation Research Group at the University of Oxford. Tom Everrett is an instructor in the School of Journalism and Communication and member of the Hypertext and Hypermedia digital humanities research centre at Carleton University, Canada.
