Cimini, 2022 - Google Patents
Wild Sound: Maryanne Amacher and the Tenses of Audible LifeCimini, 2022
- Document ID
- 11085970766239561562
- Author
- Cimini A
- Publication year
External Links
Snippet
" We haven't even made it to breakfast!" was a phrase often used by composer Maryanne Amacher (1938-2009) to shorthand her critical and partial approach to knowledge production across the vast artistic, technical, and scientific discourses with which she …
- 241000282414 Homo sapiens 0 abstract description 16
Classifications
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B5/00—Electrically-operated educational appliances
- G09B5/06—Electrically-operated educational appliances with both visual and audible presentation of the material to be studied
- G09B5/065—Combinations of audio and video presentations, e.g. videotapes, videodiscs, television systems
-
- G—PHYSICS
- G06—COMPUTING; CALCULATING; COUNTING
- G06F—ELECTRICAL DIGITAL DATA PROCESSING
- G06F17/00—Digital computing or data processing equipment or methods, specially adapted for specific functions
- G06F17/30—Information retrieval; Database structures therefor; File system structures therefor
- G06F17/30017—Multimedia data retrieval; Retrieval of more than one type of audiovisual media
-
- G—PHYSICS
- G06—COMPUTING; CALCULATING; COUNTING
- G06F—ELECTRICAL DIGITAL DATA PROCESSING
- G06F17/00—Digital computing or data processing equipment or methods, specially adapted for specific functions
- G06F17/20—Handling natural language data
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B5/00—Electrically-operated educational appliances
- G09B5/02—Electrically-operated educational appliances with visual presentation of the material to be studied, e.g. using film strip
-
- G—PHYSICS
- G06—COMPUTING; CALCULATING; COUNTING
- G06F—ELECTRICAL DIGITAL DATA PROCESSING
- G06F3/00—Input arrangements for transferring data to be processed into a form capable of being handled by the computer; Output arrangements for transferring data from processing unit to output unit, e.g. interface arrangements
- G06F3/01—Input arrangements or combined input and output arrangements for interaction between user and computer
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B19/00—Teaching not covered by other main groups of this subclass
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0008—Associated control or indicating means
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B7/00—Electrically-operated teaching apparatus or devices working with questions and answers
Similar Documents
Publication | Publication Date | Title |
---|---|---|
Cook | Music as creative practice | |
Brackett | Categorizing sound: Genre and twentieth-century popular music | |
Born | Music, sound and space: Transformations of public and private experience | |
Hinkle-Turner | Women composers and music technology in the United States: Crossing the line | |
Supper | Lobbying for the ear: The public fascination with and academic legitimacy of the sonification of scientific data | |
Garcia-Mispireta | Together, Somehow: Music, Affect, and Intimacy on the Dancefloor | |
Cimini | Wild Sound: Maryanne Amacher and the Tenses of Audible Life | |
Bratus | Mediatization in Popular Music Recorded Artifacts: Performance on Record and on Screen | |
Shearer | Te Oro o te Ao: the Resounding of the World | |
Henderson | Mande Music in the Black Atlantic: Migration and the Affordances of World Music Record Production | |
Bhogal | Listening to female voices in Sikh kirtan | |
Carl | Music Composition in the 21st Century: A Practical Guide for the New Common Practice | |
Ismaiel-Wendt et al. | Postcolonial repercussions: on sound ontologies and decolonised listening | |
Maia | Poetics of song: songwriting habitus in the creative process of Brazilian music | |
Cornish | Sounding Socialist, Sounding Modern: Music, Technology, and Everyday Life in the Soviet Union, 1956-1975 | |
Hvidtfeldt | Creativity as a Musical Practice: An inquiry into the emergence of Roskilde Festival | |
Tiffon et al. | The creative process in Traiettoria: An account of the genesis of Marco Stroppa's musical thought | |
O'Shea | The Politics of Performing Intimacy in New Music | |
Hsu | Reviving Musical Indigeneity: Institutionalization, Transmission, and Revival of Taiwan’s Aboriginal Music | |
Koivunen | The recording of contemporary classical music: Relational aesthetics, and some management too | |
Jackson | The Creation, Performance, and Preservation of Acousmatic Music | |
Farnell | Sonarchy in the UK: is sound design a rebellious teenager? | |
Kaiser | Improvising technology: configuring identities and interfaces in contemporary electro-acoustic music | |
Myers | The myth of absence: Representation, reception and the music of experimental women improvisors | |
Beatty | Music in the Liturgy: An Education-Focused Approach |