Hylla
Personnamn
Titel och upphov
Utgivning, distribution etc. Harwood Academic, Amsterdam : cop. 1996
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Upplaga
Fysisk beskrivning xiv, 357 s. : ill., musiknoter + 1 CD
Serietitel - biuppslagsform
Nummer i serie
Anmärkning: Allmän Tidigare utg.: York: Imagineering, 1985
Anmärkning: Bibliografi etc.
Term
Automatiskt genererade ämnesord (BURK) Musik Musikvetenskap Musik Musikinstrument Elektriska
ISBN 3-7186-5846-1 (inb.) ; 3-7186-5847-X (hft.) ; 3-7186-5848-8 (CD)
Antal i kö:
*00001495nam a22004817a 4500
*00136399
*00520070911143434.0
*008111129s1996 ne 000 0 eng c
*020 $a3-7186-5846-1 (inb.) ;$c£30.00
*020 $a3-7186-5847-X (hft.) ;$c£15.00
*020 $a3-7186-5848-8 (CD)
*035 $a(SE-LIBR)5896605
*035 $a(Ko)40757
*040 $aX$dKrh
*082 $a781.34$220
*084 $aIjae $2kssb/6
*084 $aIji$2kssb/6
*084 $aIj:df$2kssb/6
*084 $aMT 56
*084 $aML 1380
*084 $aML 3845
*084 $aIj$2kssb/7
*1001 $aWishart, Trevor
*24500$aOn sonic art /$cby Trevor Wishart
*250 $aNew and rev. ed. /$bedited by Simon Emmerson
*260 $aAmsterdam :$bHarwood Academic,$ccop. 1996
*300 $axiv, 357 s. :$bill., musiknoter +$e1 CD
*440 $aContemporary music studies,$x0891-5415 ;$v12
*500 $aTidigare utg.: York: Imagineering, 1985
*504 $aInnehåller bibliografi
*650 7$aComputer composition$2BNB
*650 7$aComputer music$2BNB
*650 7$aMusic$xPhilosophy and aesthetics$2BNB
*650 4$aDatorer och musik
*650 7$aDatormusik$2sao
*650 0$aComputer music
*7001 $aEmmerson, Simon$4oth
*841 $5Ko$ax a$b1111294u 8 1001uu 0901128$e4
*852 $5Ko$bKo$hMUSIK - Ij
*950 $aElektroakustisk musik$uDatormusik
*976 2$aIjae $bMusik Musikvetenskap
*976 2$aIji$bMusik Musikinstrument Elektriska
^
Det finns inga omdömen till denna titeln.
Klicka här
för att vara den första som skriver ett omdöme.
In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.