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Foster Thomas: Artificial Intelligence
in Music and Audio Production

Artificial Intelligence in Music and Audio Production

Shaping the Sound of Tomorrow

Stories Behind The Songs, Tours and Rise of an Icon

The Stories Behind the Songs, Tours and Rise of an Icon

Ariana Grande

Aesthetic Noise: The Philosophy of Intentional Listening considers the complex nature of noise within the framework of philosophical filtering, examining how, if noise is engaged with aesthetically, it can produce profound experiences and understandings.

Aesthetic Noise: The Philosophy of Intentional Listening considers the complex nature of noise within the framework of philosophical filtering, examining how, if noise is engaged with aesthetically, it can produce profound experiences and understandings.Applying the philosophies of Edmund Burke, Martin Heidegger, Jacque Derrida, and Julia Kristeva to works by Luigi Russolo, John Cage, Steve Reich, Alison Knowles, Annea Lockwood, Alyce Santoro, and Sunn O))), this book explores noise as an art material, and ultimately how it can become a tool for activism and expanded creative possibilities. It demonstrates that, by engaging multiple philosophies in concert, the value of aesthetic noise is amplified, thus allowing the listener to better appreciate noise and its possibilities.Providing greater insights into noise as an aesthetic material, Aesthetic Noise will be of interest to researchers and students of sound studies, philosophy, and sound art, as well as sound designers, artists, musicians, and composers.

The Philosophy of Intentional Listening

Aesthetic Noise

Focus on Dramaturgy

Drawing upon miscellaneous theories from Eugenio Barba, Friedrich Nietzsche and contemporary sound studies, Sonorous Dramaturgy: The Polyphony of Postdramatic Theatre looks into emerging, cutting-edge theatre artists who employ musicality as the driving force behind their creativity. Celebrating the polyphony of postdramatic theatre, this book incorporates diverse companies and artists from all over the world, including Song of the Goat Theatre company, Marta Górnicka's Chorus of Women, Complicite, Tan Dun, among others.

Drawing upon miscellaneous theories from Eugenio Barba, Friedrich Nietzsche and contemporary sound studies, Sonorous Dramaturgy: The Polyphony of Postdramatic Theatre looks into emerging, cutting-edge theatre artists who employ musicality as the driving force behind their creativity. Celebrating the polyphony of postdramatic theatre, this book incorporates diverse companies and artists from all over the world, including Song of the Goat Theatre company, Marta Górnicka’s Chorus of Women, Complicite, Tan Dun, among others.

The Polyphony of Postdramatic Theatre

Sonorous Dramaturgy

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment. The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

How Does It Sound Now? features 32 interviews with top engineers and producers who have contributed to hundreds of millions of albums and CDs throughout their combined careers, including a new interview with Leslie Gaston-Bird for this second edition.

Legendary Engineers and Vintage Gear

How Does It Sound Now?

Music Theory in Britain, 1500–1700: Critical Editions

The critical edition of John Playford's Introduction to the Skill of Musick (1672, Sixth edition) represents the contents of Playford's seminal pedagogical treatise in the middle of its development. Although Playford's Introduction was one of the most famous music texts of the period, a satisfactory modern edition of its contents has not yet been published. This is due, in part, to the fact that the interior contents of the Introduction changed markedly throughout its publication run from 1654 to 1730 (though post-1694 changes are minimal). This edition addresses this issue by presenting not only the transcription of the 1672 edition, but detailed contents of the entire publication run to better understand the shifting contents of the major sections of the work from its beginnings to the turn of the century. The contents include an introductory essay concerning the development of the series, divided according to the main sections of the text: The Grounds and Rules of Musick, Instructions and Lessons for the Bass Viol, and The Art of Descant. The body is a full transcription of the 1672 edition with images. Two appendices contain 1) critical notes on the text and a comparison of the major changes-section changes, major wording and style changes, repertoire lists, along with significant codicological amendments-between editions using 1672 as the model, and 2) a list of all of the music in the different editions of the Introduction, including information regarding in which editions the pieces may be found and a reference to modern editions on those works.

The critical edition of John Playford’s Introduction to the Skill of Musick (1672, Sixth edition) represents the contents of Playford’s seminal pedagogical treatise in the middle of its development. Although Playford’s Introduction was one of the most famous music texts of the period, a satisfactory modern edition of its contents has not yet been published. This is due, in part, to the fact that the interior contents of the Introduction changed markedly throughout its publication run from 1654 to 1730 (though post-1694 changes are minimal). This edition addresses this issue by presenting not only the transcription of the 1672 edition, but detailed contents of the entire publication run to better understand the shifting contents of the major sections of the work from its beginnings to the turn of the century.The contents include an introductory essay concerning the development of the series, divided according to the main sections of the text: The Grounds and Rules of Musick, Instructions and Lessons for the Bass Viol, and The Art of Descant. The body is a full transcription of the 1672 edition with images. Two appendices contain 1) critical notes on the text and a comparison of the major changes-section changes, major wording and style changes, repertoire lists, along with significant codicological amendments-between editions using 1672 as the model, and 2) a list of all of the music in the different editions of the Introduction, including information regarding in which editions the pieces may be found and a reference to modern editions on those works.

John Playford’s Introduction to the Skill of Musick, 1672

Bloomsbury Aesthetics

Aesthetics and Music

A highly-enjoyable and sophisticated exploration of the history, debates and ideas at play in the aesthetics of music.

Ashgate Interdisciplinary Studies in Opera

Although Gustav Holst is rarely thought of as an opera composer, his operatic works provide a gateway to the exploration of how a budding opera composer negotiated the British operatic world across his career and how his synthesis of a myriad of cultural influences in his operatic works affected his reputation and success as a composer. This interdisciplinary study provides a kaleidoscopic view of how overlapping and often contradictory cultural influences such as imperialism, religion, literature, indigenous theatre, philosophy, folk culture, nationalism, and historiography are reflected in Holst's operas and figure into his reception as a composer of operas.

Although Gustav Holst is rarely thought of as an opera composer, his operatic works provide a gateway to the exploration of how a budding opera composer negotiated the British operatic world across his career and how his synthesis of a myriad of cultural influences in his operatic works affected his reputation and success as a composer. This interdisciplinary study provides a kaleidoscopic view of how overlapping and often contradictory cultural influences such as imperialism, religion, literature, indigenous theatre, philosophy, folk culture, nationalism, and historiography are reflected in Holst’s operas and figure into his reception as a composer of operas.

From Bayreuth to Aldeburgh

Gustav Holst and British Operatic Culture

Elements in Twenty-First Century Music Practice

English language teachers have long recognised pop songs' potential for engaging students and establishing positive classroom environments conducive to language learning. Educational publishers increasingly incorporate music into their coursebooks, including specially commissioned 'ELT songs', whose lyrics feature aspects of target language. This Element explores the phenomenon of ELT songs from the authors' insider perspective as songwriters. It considers the relationship between music and lyrics in songs, what this means for using songs in the language classroom, the historical developments through which ELT songs emerged, and the contexts in which they are written, listened to, and made. Through literature review and reflection, the authors derive a framework of twelve criteria and ten dilemmas to guide ELT songwriting, before applying it in an analysis of their songs and songwriting process. The final section proposes a model for multidisciplinary collaboration between songwriters and non-musician collaborators including authors, teachers, and publishers.

Songs for the Language Classroom

More Than Words

Elements in Musical Theatre

This Element discusses Budapest from the 1920s until 1968. The field of entertainment began to be considered a cultural product that had to adhere to new political requirements. By 1968, the revue's cultural relevance had become almost insignificant with the appearance of new genres of entertainment.

From Cosmopolitan Night-Clubs to Stalinist Dogma

The Revue in Twentieth-Century Budapest

Makis Solomos explores the ecologies of music and sound, inspired by Felix Guattari, for whom environmental destruction caused by capitalism goes hand in hand with deteriorating ways of living and feeling, and for whom an ecosophical stance, combining various ecological registers, offers a glimpse of emancipation.

Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms

Exploring the Ecologies of Music and Sound

Artificial Intelligence in Music and Audio Production

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Bibliografische Angaben

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