INTRODUCTION Sonification is a moderately new field of research and due to this fact there are many terms which are used to describe it including but not exclusive to sonification, auditory display, auralization, audification; all of which have a similar but not precisely defined definitions (Hermann, 2008). Due to its inherent nature it is placed between the fields of scientific research and art & design research. This dichotomy raises issues as the two areas have very different notions of what sonification should entail and what can and should be considered sonification over other forms of musical/non-musical auditory expression. I will attempt to argue that a more open and broad definition towards pleasurable aesthetics will allow the field to grow and become more widely accepted rather than its clear cut scientific classification; specifically I will compare and contrast two papers Hermann’s Taxonomy and Definitions for Sonification and Auditory Display with Vickers’ Ars Informatica–Ars Electronica: Improving Sonification Aesthetics. EXTEND INTRODUCTION Sonification involves elements of both science, which must be driven by theory, and design, which is not always scientific or theory-driven. (Walker & Nees, 2011) GENERAL DEFINITION Even though there are debates between the more scientific approaches and the ones leaning towards art & design there are several general definitions which are agreed upon by both sides. Hermann quotes Barrass and Kramer “[s]onification is the use of non-speech audio to convey information … Sonification is the transformation of data relations into perceived relations in an acoustic signal for the purposes of facilitating communication or interpretation” (Hermann, 2008). This definition allows for mul... ... middle of paper ... ...ty. “ (Hermann, 2008) Within his paper Hermann is very clear on his definition of sonification and takes many possibilities in mind when referring to sonification. Although I see the need for a formal taxonomy for sonification I find his definition to be too rigid. His definition does not leave much for creativity and automatically rules out many artistic and natural sonifications. On his website www.sonification.de he boldly states: “Sonification: the auditory equivalent of scientific visualization” (Hermann, n.d.). To me stating that sonification has to be the counterpart to ‘scientific’ visualization Hermann directly cancels out the option to have ‘artistic’ sonification thereby closing the definition of sonification too much for myself. I will debate this further after discussing Paul Vickers definition of sonification I will compare and contrast their views.
The Mozart’s opera aria, “Dove sono i bei momenti”, and Hanatarash’ “Live 1988” are two music works that combine different visual and sound aspects in a curious way. Mozart’s opera aria “Dove sono i bei momenti” is a pitch-music performed by American soprano singer Jessye Norman. “Live 1988” is a noise-music performance performed by a Japanese noise band, Hanatarash. In aesthetic terms, “Dove sono I bei momenti” visual and sound aspects are intriguing in their resonance, harmony and relaxing nature which contrasts the chaotic, discordant and offensive nature of “Live 1988”.
Putman, D. (1990). THE AESTHETIC RELATION OF MUSICAL PERFORMER AND AUDIENCE. British Journal of Aesthetics. 30 (4), 1-2.
Language is the bearer of meaning and is a universal medium of communication (Evans, 1973; p. 42; Stenlund, 1990; p. 14). With in electroacoustic music, language is used as a 'tool for establishing an aesthetic' (Keane, 1986; p. 118). Pierre Schaeffer considers it as being 'presupposed' (Windsor, 1995; 1.1.1). Although, both talking about language they talk about different aspects of language in relation with electroacoustic music. Schaeffer talks about the creation of music, Keane talks about the process before making music. Schaeffer's theory of language may mask the communication between composer and liste...
In conclusion towards the arguments and observations, musical expression consists in presenting emotion characteristics in appearance. It turns out people listen to music as having a purposeful nature and that it has an effect on psychological emotions. If there is a case in which music showing emotional qualities with no reference to feelings, there is a case of happy music that is not powerful of happiness.
The Use of Electronic Technology in 20th and 21st Century Music In this essay, I have examined the use of electronic technology within 20th and 21st Century music. This has involved analysis of the development and continuing refinement of the computer in today’s music industry, as well as the theory of the synthesiser and the various pioneers of electronic technology, including Dr. Robert Moog and Les Paul. Also within the essay, I have discussed the increasing use of computers in the recording studio. The computer has become an indispensable tool in ensuring that both recording and playback sound quality is kept at the maximum possible level. Many positive ideas have come from the continued onslaught of computerisation.
There is a growing body of work in the philosophy of music and musical aesthetics that has considered the various ways that music can be meaningful: music as representational (that is, musical depictions of persons, places, processes, or events); musical as quasi-linguistic reference (as when a musical figure underscores the presence of a character in a film or opera), and most especially, music as emotionally expressive. Here I will focus on the last topic, for I believe it will be useful for researchers in music perception and cognition to avail themselves of the distinctions that aestheticians have worked out regarding the musical expression of emotion.
The terms homophony and polyphony are both musical voices. The former can be defined as one sound or line of melody at a time that is played by multiple instruments at the same time, while the latter is any music with two or more independent melodic parts sounded together. Homophony music is one melodic line at a time, the other voices or parts serving as accompaniment. Polyphony music, on the other hand, is combined with several lines of a similar, rhythmically identical design. The terms homophony and polyphonic are types of a musical texture as well. The most common definition of texture, in a general sense, is the visual or tactile surface characteristics and appearance of something. The following qualifiers "rough", "smooth", "coarse", "silken", "thin" and "thick" are mostly accompany the term to describe certain characteristics of textiles. Its definition as a musical term is the overall quality of a sound of a piece, most often indicated by the number of voices in the music as well as the interaction of melodies and harmonies within a song. Homophonic texture can be found in the most popular music styles, such as folk, rock, country, jazz, etc. and also can be accompanied with a vocal music. Polyphonic, in contrast, described as thicker or
The book is divided into four chapters: 1) Humanly Organized Sound, 2) Music in Society and Culture, 3) Culture and Society in Music, and 4) Soundly Organized Humanity. In chapter one, Blacking discusses the analysis of sound. He begins by describing music as humanly organized sound. His overarching theme is that “the function of tones in relation to each other cannot be explained adequately as part of a closed system” (30). In other words, music can’t be analyzed simply by one set of rules. This is because every single culture has a different system that they use to structure and compose their music. In order to adequately analyze a society’s music we have to study their “system.” We must learn what music means to them. Then, and only then, can we accurately and completely analyze what a particular type or piece of music means to a particular society and culture.
When considering the versatility of a synthesiser as a keys player it can widen one’s oeuvre immensely. With its ability to imitate existing sounds and instruments to create beautiful polyphonies and to contrastingly emit haunting, dissonant soundscape’s from previously non-exiting timbres makes it not only a useful tool but and essential piece in a composer’s instrumental repertoire.
Music and the relationships of music have changed drastically in our society. The course of studies and the evaluations of the applications of the technology of music, the making and the listening of music have changed in the way we listen to music, the styles of music in our society and in the media. The importance of the technology in music today, has, over the past century been charted through the study of musical examples and through viewing how human values are reflected in this century's timely music. There are very many different types of music that are listened to. There are readings, writings, lectures and discussions on all the different types of music.
Wishart, Trevor. "From Sound Morphing to the Synthesis of Starlight. Musical experiences with the Phase Vocoder over 25 years." Musica/Tecnologia Music , 2013: 65-67.
Musical form, considered as the result of a process, suggests an analogy with the phenomenon of crystallisation. The clearest answer I can give...
"The Purpose of Music." EzineArticles Submission - Submit Your Best Quality Original Articles For Massive Exposure, Ezine Publishers Get 25 Free Article Reprints. Web. 23 Feb. 2010. .
There is a clear difficulty in apprehending and describing another’s musical experience (Downey, 487). Performers, spectators, and producers will have different ways of hearing the common piece that they are listening to together. All senses, including sound reception, are affected and refined by one’s culture. In order to better understand how our personal involvement with music may differ from our peers, we need to educate ourselves in the different ways to respond to music perceived as
Music, a form of art, made up of unique and special sounds containing elements of pitch and rhythm can powerfully soothe one’s soul. Firstly, there are different types of music, and each has its own features. These sounds and features are what I admire in music because to me it creates a new form of communication to one’s consciousness. It stimulates our mind and gives it a sense of harmony and peace through the hardships that life poses for us. As a kid, I would always listen to music from any genre, deciding which genre would complement me the most as I grew older. In middle school, I remember going on the computer and finding a website/program where I could make my own beats. From that day on, I spent countless of hours each day making sure the tune sounded proper and pleasurable for my ears. At first, it wasn’t good, but eventua...