Sound Affects

Sound Affects: A User's Guide is a collection of sonically-charged concepts ranging from those felt, 'heard' and repeated (silence, the oriental riff, shuffle), to the vocal (whispers, sing, the disembodied voice), to sounds at the threshold (tin/ny, thump, buzz) to sounds beyond the limits of audibility (inaudible tremors, distortion, sub-bass). Sound Affects invites the reader to reflect on the ways that sounds produce affects and the ways that affects can operate as sound. Each of the entries develops a particular perspective on sound and affect through a close analysis of audiovisual and/or sonic objects. The objects chosen not only illustrate the concept in question but also demonstrate how the object encourages us to rethink the relationships between sounds and affects. Influenced by the sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects plot the shift in volume from silence that opens up a space to be heard to the audibly near, from the audibly near to sounds beyond the limits of audibility. Sound Affects is an intellectual adventure for those who theorize and listen. The book can also be enjoyed as a narrative of sounds, its absences and its shifting intensities.

To today's radio listener, it is difficult to imagine the influence radio once held over the American people. Unlike movies or newspapers, radio both informed and entertained its audience without requiring them to participate. Part of its success depended upon the people who created the sound effects--a squeaking door, the approach of a horse, or a typewriter. The author did live sound effects during the "Golden Age" of radio. He provides many insights into the early days of the medium as it grappled with entertaining an audience based on a single sense (hearing). How the sounds were produced is fully covered as are the artists responsible for their production. Stories of successful effects production are balanced by embarrassing or funny failures. A list of artists and their shows is included.

Sound, Music, Affect features brand new essays that bring together the burgeoning developments in sound studies and affect studies. The first section sets out key methodological and theoretical concerns, focussing on the relationships between affective models and sound. The second section deals with particular musical case studies, exploring how reference to affect theory might change or reshape some of the ways we are able to make sense of musical materials. The third section examines the politics and practice of sonic disruption: from the notion of noise as 'prophecy', to the appropriation of 'bad vibes' for pleasurable aesthetic and affective experiences. And the final section engages with some of the ways in which affect can help us understand the politics of chill, relaxation and intimacy as sonic encounters. The result is a rich and multifaceted consideration of sound, music and the affective, from scholars with backgrounds in cultural theory, history, literary studies, media studies, architecture, philosophy and musicology.

"Studies of affect and emotions have blossomed in recent decades across the humanities, neurosciences, and social sciences. In music scholarship, they have often built on the discipline's attention to what music theorists since the Renaissance have described as music's unique ability to arouse passions in listeners. In this timely volume, the editors seek to combine this 'affective turn' with the 'sound turn' in the humanities, which has profitably shifted attention from the visual to the aural, as well as a more recent 'philosophical turn' in music studies. Accordingly, the volume maps out a new territory for research at the intersection of music, philosophy, and sound studies. The essays in Sound and Affect look at objects and experiences in which correlations of sound and affect reside, in music and beyond: the voice as it speaks, stutters, cries, or sings; music, whether vocal, instrumental, or electronic; our sonic environments, whether natural or man-made, and our responses to them. As argued here, far from being stable, correlations of sound and affect are influenced by factors as diverse as race, class, gender, and social and political experience. Examining these factors is key to the project, which gathers contributions from a cross-disciplinary roster of scholars including both established as well as a wealth of new voices. The essays are grouped thematically into sections that move from politics and ethics, to reflections on pre-and post-human "musicking," to the notions of affective listening and music temporalities, to are examination of historical understandings of music and affect. This agenda-setting collection will prove indispensable to anyone interested in innovative approaches to the study of sound and its many intersection with affect and emotions"--

This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.

Discordant Democracy: Noise, Affect, Populism, and the Presidential Campaign paints a portrait of the political experience at a pivotal time in American political and social history. The modern political campaign is aestheticized and assimilated into mass culture, divorced from fact and policy, and nakedly tethered to emotional appeal. Through a multi-modal comparative examination of the sonic and emotional cultures of the 2008 and 2016 campaigns, Justin Patch raises critical queries about our affective relationship to modern politics and the impact of emotional campaigning on democracy. Discordant Democracy asks: how do campaign sounds affect us; what role do we the electorate play in creating and sustaining these sounds and affects; and what actions do they generate? Theories from anthropology, cognitive science, sound studies and philosophy are engaged to grapple with these questions and connect bombastic mass-mediated political events, campaign media and individual sonic experience. The analyses complicate notions of top-down campaigning, political spin, and enthusiastic millennial populism by examining our role in producing and animating political sounds through conversation, applause, laughter, media, and music.

Bursting with new features, Apple's iMovie '09 is vastly more usable and complete than iMovie '08 -- amazing right out of the box. But the box doesn't include a good user's guide, so learning these applications is another matter. iMovie '09 and iDVD: The Missing Manual gets you up to speed on everything you need to turn raw digital footage into highly creative video projects. You get crystal-clear, jargon-free explanations of iMovie's new video effects, slow & fast motion, advanced drag & drop, video stabilization, and more. Author and New York Times tech columnist David Pogue uses an objective lens to scrutinize every step of process, including how to: Organize your videos just like your photos, and precisely edit with ease Work on multiple iMovie projects at once and drag & drop clips among them Integrate with other iLife programs to use songs, photos, and an original sound track Output your creation to a blog, its own web page, or as a video podcast with iWeb Understand basic film techniques to improve the quality of the video you bring to iMovie From choosing and using a digital camcorder to burning the finished work onto DVDs, posting it online, or creating versions for iPod and iPhone, iMovie '09 & iDVD: The Missing Manual helps you zoom right in on the details.

2017 is the 40th anniversary of the start of Paul Weller’s recording career. His first album, In The City, which he recorded with The Jam, was released in 1977. He then went on to record a further 22 albums with The Jam, The Style Council and his solo career. Sounds from the Studio starts in 2015 with the release of his most recent album Saturn’s Pattern then works backwards to the groundbreaking debut from The Jam - In the City. The book includes interviews with artists who have worked with Paul including Noel Gallagher, Steve Cradock, Sir Peter Blake, Mick Talbot, and both Rick Buckler and Bruce Foxton from The Jam as well as many of the studio hands, sleeve designers and interviews with members from Paul’s family.