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The sound of the third wave : science fiction, imaginary machines and the future of techno /Miller, Graham. January 2005 (has links)
Thesis (M.A.)--York University, 2005. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 148-151). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11863
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Penser l'écran sonore : les théories du film parlantMcCann, Mark January 2006 (has links)
The thesis, entitled Penser l'écran sonore : les théories du film parlant ( Thinking the sound screen : theories of the talking film ) aims to provide at once a survey and critique of such theories as have explicitly addressed themselves to film conceived of in its essence as a carrier of acoustically produced meaning. This position would seem to be the merest commonplace, however, review of the literature will show that the study of the cinematic sound object as such was hardly carried out in any systematic manner before the 1980s and the groundbreaking work of Rick Altman, Michel Chion, and Claudia Gorbman. Perhaps the most simple manner of illustrating previous theoretical approaches to this topos would be to indicate the " polar " extremes which mark the limits of the discursive space within which their coverage is inscribed - pessimism and mourning for the silents ( Balász ), dizzying mysticism ( Eisenstein ), Marxian ideological analysis ( Adorno and Eisler ), and various practical suggestions for filmmakers of the type proposed by Reisz and Spottiswoode. The thesis is divided into three along the familiar lines of sound qua sound - concerning that which is valid for all types of sound in the cinema - the voice in cinema, and cinema music. The main approaches to these objects can be similarly broadly characterised as semiological, second - wave semiological, ( i.e. semiology plus psychoanalysis ), cognitivist, and technopragmatic. The intention is to interrogate the merits and the defaults of these approaches by applying them to a range of problematics arising in the three areas listed above. It would of course be ideal if all approaches were to deal with identical questions, however, the internal dynamics of the various methodologies evidently privilege the framing of one question over another : in my opinion this presents its own interest, as the questions which can ( and, perhaps more importantly, cannot ) be posed within a given discursive structure are most revealing of the theoretical framework itself. The importance of cinema sound considered as representation rather than as simple transcription is insisted upon throughout. The limits of multichannelling are established as not greatly extending those already established by stereo. The practice of direct sound - of sound recorded on location or on set in real time - is found to have a distinctly theological dimension. The notion of subjective time as it is experienced by the spectator in the cinema is examined at length. A prominent feminist model of the functioning of sound in the cinema is found to be most unsteady. Finally, an aesthetic of the sound film which utilises the potential of the medium to the highest degree is proposed. A consideration of the lacunae in the field - which remain possibilities for further study - and an extensive bibliography complete the survey. / Thesis (Ph.D.)--School of Humanities, 2006.
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Acoustic assessment of the Robert Ferst Center for the Arts theaterEhnert, Jesse James 05 1900 (has links)
No description available.
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Penser l'écran sonore : les théories du film parlantMcCann, Mark January 2006 (has links)
The thesis, entitled Penser l'écran sonore : les théories du film parlant ( Thinking the sound screen : theories of the talking film ) aims to provide at once a survey and critique of such theories as have explicitly addressed themselves to film conceived of in its essence as a carrier of acoustically produced meaning. This position would seem to be the merest commonplace, however, review of the literature will show that the study of the cinematic sound object as such was hardly carried out in any systematic manner before the 1980s and the groundbreaking work of Rick Altman, Michel Chion, and Claudia Gorbman. Perhaps the most simple manner of illustrating previous theoretical approaches to this topos would be to indicate the " polar " extremes which mark the limits of the discursive space within which their coverage is inscribed - pessimism and mourning for the silents ( Balász ), dizzying mysticism ( Eisenstein ), Marxian ideological analysis ( Adorno and Eisler ), and various practical suggestions for filmmakers of the type proposed by Reisz and Spottiswoode. The thesis is divided into three along the familiar lines of sound qua sound - concerning that which is valid for all types of sound in the cinema - the voice in cinema, and cinema music. The main approaches to these objects can be similarly broadly characterised as semiological, second - wave semiological, ( i.e. semiology plus psychoanalysis ), cognitivist, and technopragmatic. The intention is to interrogate the merits and the defaults of these approaches by applying them to a range of problematics arising in the three areas listed above. It would of course be ideal if all approaches were to deal with identical questions, however, the internal dynamics of the various methodologies evidently privilege the framing of one question over another : in my opinion this presents its own interest, as the questions which can ( and, perhaps more importantly, cannot ) be posed within a given discursive structure are most revealing of the theoretical framework itself. The importance of cinema sound considered as representation rather than as simple transcription is insisted upon throughout. The limits of multichannelling are established as not greatly extending those already established by stereo. The practice of direct sound - of sound recorded on location or on set in real time - is found to have a distinctly theological dimension. The notion of subjective time as it is experienced by the spectator in the cinema is examined at length. A prominent feminist model of the functioning of sound in the cinema is found to be most unsteady. Finally, an aesthetic of the sound film which utilises the potential of the medium to the highest degree is proposed. A consideration of the lacunae in the field - which remain possibilities for further study - and an extensive bibliography complete the survey. / Thesis (Ph.D.)--School of Humanities, 2006.
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The effects of "canned laughter" on children's perceptions of television violenceHinz, Bonny V. 05 June 1992 (has links)
The interest in the effects of television violence on children has resulted in
thousands of studies over the last 20 years. Previous research on laughter has
generated many laughter theories and several studies show that laughter may
influence mirth expressions and funniness ratings of material. The purpose of
this study was to determine if a television laugh track affected children's
perceptions of television violence. A review of the literature covered the areas of
laughter and television laugh tracks, children's processing of television, and
children's television violence perceptions.
Forty-two children, aged 6 to 8 years old, were divided into two groups.
One group watched a televised violent scene accompanied by a laugh track, and
the other group watched the same scene without a laugh track. The children
then answered questions on a Likert scale about their perceptions of the pain and
violence in the scene. The data was analyzed using the t-statistic. At a .05
significance level, there were no significant differences between the control and
treatment groups, supporting the null hypothesis. These results supported
previous research showing that laugh tracks and laughter in general do not
always increase funniness or other ratings, and that children may not be
identifying closely with the characters. Suggestions for future research were
presented. / Graduation date: 1993
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The Hong Kong soundscape: music and sound in Johnnie To's PTUMui, Yee-man., 梅綺雯. January 2010 (has links)
published_or_final_version / Music / Master / Master of Philosophy
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Die gebruik van klank om nuus op die Internet oor te draDe Jager, Augustinus Kock 03 1900 (has links)
Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: In this work I explore the use of sound as a means of
presenting news to the user of the Internet. I accept that
news sound as such, as it is presented on radio, is an
effective mass communication medium. From there I ask the
question if this sound, with the same underlying principles
used in radio, can be effectively used on the Internet.
This opposed to real changes made in the gathering,
preparation and presentation of sound to be effective on
the Information Superhighway.
In the first chapter I look at the methods (good and bad)
utilized to present sound on the radio. When I present a
model for Internet use later in the work (chapter 5) I use
these as a starting point. Some definitions are formulated,
which also become important in chapter 5.
In the second chapter I touch on the origins of the
Internet and the use of web sites to provide a news
service. I explore the methods employed by news specific
sites to communicate information to Internet users and I compare that to uses on a non-news site, in this case
National Geographic.com. Again I use the positive aspects
of the study of these sites to form part of the model
presented in chapter 5.
Chapter 3 is dedicated to the technological development of
the Internet and the use of multimedia to convey
information. I also touch on the future of the information
system and the expectations and requirements these
developments would put on journalists working on the
medium.
In chapter 4 I compare the way in which three news sites
handled the covering of the terrorist attack on America.
Because of the territorial advantage, I choose to look at
the coverage one year after the event. The positive use of
text, video, sound and images on these three sites are used
to format the model in the next chapter.
As said previously, chapter 5 contains a model for the use
of multimedia, specifically sound, to convey news
information on the Internet. While the focus is on sound, I
suggest here that the model is applicable to all the aids
available to the Internet producer. / AFRIKAANSE OPSOMMING: In hierdie werkstuk ontleed ek die gebruik van klank as 'n
werktuig om nuus aan die Internetgebruiker oor te dra. Ek
gaan van die beginsel af uit dat nuusklank op sy eie, met
ander woorde soos dit op die radio uitgesaai word, wel 'n
effektiewe, vinnige metode is om nuus aan massas mense oor
te dra. Die vraag word gevra of klank op dieselfde manier,
met dieselfde grondbeginsels en gebruike, 'n effektiewe
medium is om nuus op die Internet aan te bied. Dié vraag
word in teenstelling geplaas met die moontlikhede dat klank
liefs op die radio hoort en nie deel behoort te wees van
nuuswebtuistes nie, of dat daar wesenlike veranderinge
gemaak behoort te word aan die nuus wat op die radio
aangebied word, voor dit effektief op die Internet gebruik
kan word.
In die eerste hoofstuk kyk ek na die oorsprong en
geskiedenis van radio en daarna na die ontwikkeling van
nuus op radio. Ek behandel die beginsels van radionuus, met
die doelom hierdie kenmerke dan later in die werkstuk
(hoofstuk 5) te gebruik as die grondbeginsels vir 'n model
vir die gebruik van klank om nuus op die Internet oor te
dra.
Ek kyk na die goeie en slegte praktyke wat in die oordrag
van nuus op radio ontstaan het en probeer hierdeur sif om
nie dieselfde swakplekke by die bogenoemde model in te
sluit nie. In hierdie hoofstuk formuleer ek dan definisies
vir die verskillende gebruike van klank om nuus oor die
radio oor te dra. Hierdie definisies word ook later gebruik
in die model vir die effektiewe gebruike van nuusklank op
die Internet.
In die tweede hoofstuk kyk ek na die oorsprong van die
Internet, en dan (in meer detail) na die ontstaan van
nuuswebtuistes. Ek ontleed die manier waarop inligting aan
Internetgebruikers oorgedra word, op webtuistes wat
spesifiek vir nuus geskep is, maar ek vergelyk dit ook met
'n webtuiste wat na my mening die Internet se kenmerke
behoorlik aanwend om inligting oor te dra, nl.
NationaIGeographic.com.
Die goeie en slegte punte van die oordrag van inligting op
die medium word ontleed, om ook later deel te vorm van die
model in hoofstuk 5.
Ek kyk in die derde hoofstuk na die tegnologiese
ontwikkeling van die Internet en die gebruik van multimedia
op die netwerk. Daar word ook geraak aan die toekomsmoontlikhede van die oordrag van groot hoeveelhede
data (soos klank en video) op die netwerk.
Soos die tegnologie ontwikkel, moet die persoon wat die
produk daarstelontwikkel, en ek kyk na die vereistes wat
aan joernaliste/vervaardigers van Internetnuus gestel word.
In die vierde hoofstuk vergelyk ek die Internetaanbiedings
van 'n spesifieke nuusgebeurtenis, die aanval op Amerika op
11 September 2001, van drie nuuswebtuistes. Ek kyk na die
aanbiedings van die BBC, CNN en die SAUK, spesifiek na die
gebruik van teks, grafika, video en klank om nuus aan
Internetgebruikers oor te dra. Die (goeie en minder goeie)
gebruik van klank op dié drie webtuistes vorm dan die basis
van die model wat ek in hoofstuk 5 aanbied.
Die vyfde hoofstuk word gewyaan die daarstelling van 'n
model om klank as nuusmedium op die Internet te gebruik. Ek
kyk na die beginsels van die goeie gebruik van klank wat in
die eerste hoofstuk daargestel is en probeer dit verwerk
vir gebruik op die Internet.
Hoewel ek nie spesifiek die gebruik van ander media, soos
teks, video en grafika, behandel nie, doen ek in hoofstuk 5
voor dat die model vir al die hulpmiddels op die
Internetnuuswebtuiste kan geld.
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A Musical Rare-vival : Comparative analysis of audio content in the games Banjo-Kazooie and Yooka-LayleeKallin, Arvid, Rabe, Mathilda January 2022 (has links)
This paper is concerned with exploring the musical content of the games Banjo-Kazooie and Yooka-Laylee from the perspectives of musical emotiveness, audiovisual feedback in video games, and adaptive music systems. The exploration consists of formal analysis of the two games, as well as a comparison between the two, this is done in order to determine the evolution of the way music and audio is designed and structured within two specific games created by roughly the same group of developers, only with a 20 year difference. It is fairly easily established, as was the hypothesis, that the two games utilise musical content in much the same ways, but that there has been no significant evolution in how the latter game utilises modern audio technology to expand on the adaptivity of the music system.
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An Empirical Study on the Effects of Music and Sound Effects in Fiction E-BooksStrong, Alissa Eugenia 13 March 2013 (has links) (PDF)
Research indicates that music has a unique and powerful ability to affect how listeners react to a story (Schaefer, 1998). Publishing houses are increasingly incorporating music and other multimedia effects into their products, with companies such as Booktrack now including novel-length soundtracks with e-books. The present study aimed to empirically investigate the relationship between music and text by examining whether readers' enjoyment of and distraction from a fiction e-book is affected by the inclusion of music or sound effects. One hundred and twenty undergraduate students at Brigham Young University completed an e-book reading task (either accompanied by sound effects, music, or nothing at all) and completed a post-task survey that measured their enjoyment of and distraction from the task. It was found that multimedia-enhanced e-books were significantly more enjoyable (M = 4.555) than e-books alone (M = 4.035). Both sound effects and music (Ms = 4.512 and 4.594, respectively) led to higher levels of enjoyment than the control condition (M = 4.035), although later analyses indicated this effect was primarily found in females. Only the multimedia e-books incorporating sound effects significantly lowered distraction levels compared with the control (Ms = 1.698 and 3.621, respectively). The amount of time a participant spent engaged in multimedia behaviors (e.g., watching television, playing video games) did not consistently affect the relationships investigated. It was concluded that music and sound effects may be an enjoyable and interesting feature of e-books without detracting from the story. In some cases, the addition of multimedia made e-books as enjoyable for those who typically did not enjoy fiction as it was for those who enjoy fiction. It is recommended that publishers continue investigating this relationship, as multimedia e-books may open access to a new marketable audience for publishers.
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Exploring the impact of familiarity on the emotional response to acousmatic sound effects in horror filmLantz, Fanny January 2021 (has links)
Ever since the introduction of sound in film, sound effects have played a big part in the experience of the film audience. Acousmatic sound effects are diegetic sounds that lack a visual source on screen, and they are frequently used in horror films. This research explores the relationship between familiarity with sound effects and the emotional response in the audience. An experiment was conducted where two test groups watched an excerpt from a horror film where acousmatic sounds were a big part of the soundtrack. One of the test groups watched a version where there were reoccurring familiar acousmatic sounds, and the other group watched a version with random un-familiar acousmatic sounds. Data was collected through self-report and physiological measurements. The results suggest that there is a dissonance between the conscious and unconscious emotional experience of suspense and fear. The physiological measurements indicate a higher emotional arousal in the group that watched the unfamiliar version of the stimuli, while the self-report propose a stronger conscious build-up of suspense leading to a stronger experience of fear in the group watching the familiar version. Further research directions based on the result of this research are presented.
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