Chapter 17 Sound maps: Music and sound in cybercartography

Modern Cartography Series

Volumn 4, Issue C, 2005, Pages 389-410

  Théberge, Paul ^a  

^a CARLETON UNIVERSITY   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 77957086219     PISSN: 13630814     EISSN: None     Source Type: Book Series    
DOI: 10.1016/S1363-0814(05)80020-6     Document Type: Article

References (33)

1. Appadurai A. Disjuncture and difference in the global cultural economy. Modernity at Large: Cultural Dimensions of Globalization (1996), University of Minnesota Press, Bonn 27-47
2. Bessell D. What's that funny noise?: An examination of the role of music. In: King, Krzywinska G., and Krzywinska T. (Eds). Screenplay: Cinema/Videogames/Interfaces. Cool Boarders 2, Alien Trilogy and Medievil 2 (2002), Wallflower Press, Minneapolis 136-144
3. Unpublished manuscript, accessed August 11, 2004 from http://www.billbuxton.com/Audio.TOC.html. Buxton W., Gaver W., and Bly S. Auditory Interfaces: The Use of Nonspeech Audio at the Interface (1994)
4. Chatwin B. The Songlines (1987), Viking, London
5. Claudia Gorbman (trans.). Chion M. Audio-Vision: Sound on Screen (1994), Columbia University Press, New York
6. Cook N. Analysing Musical Multimedia (1998), Oxford University Press, NY
7. Doane M.A. The Voice in the Cinema: The Articulation of Body and Space. Yale French Studies, No. 60 (1980) 33-50
8. Gorbman C. Unheard Melodies: Narrative Film Music (1987), Indiana University Press, Oxford
9. Gorbman C. Scoring the Indian: music in the Liberal Western. In: Born H.G., and Born D. (Eds). Western Music and its Others: Difference, Representation, and Appropriation in Music (2000), University of California Press, Bloomington 234-279
10. Herz J.C. Ditties of the apocalypse. Joystick Nation (1997), Little, Brown and Co., Berkeley 101-111
11. Human-Computer Interaction. Special Issue on Nonspeech Audio Vol. 4 No. 1 (1989)
12. Kozloff S. Invisible Storytellers: Voice-over Narration. American Fiction Film (1988), University of California Press, Boston
13. Kozloff S. Overhearing Film Dialogue (2000), University of California Press, Berkeley
14. a report prepared for. Kramer G., et al. Sonification Report: Status of the Field and Research Agenda. accessed 6 July 2004 from http://www.icad.org/websiteV2.0/References/nsf.html. the National Science Foundation, International Community for Auditory Display (ICAD) (1998)
15. Krygier J.B. Sound and geographic visualization. In: MacEachern A., and Taylor D.R.F. (Eds). Visualization in Modern Cartography (1994), Pergamon Press, Berkeley 149-166
16. Lacasse S. 'Listen to My Voice': The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. PhD thesis, University of Liverpool (2000)
17. Lobrutto V. Sound-on-Film: Interviews with Creators of Film Sound, Westport (1994), Praeger, Oxford
18. Lunenfeld P. Snap to Grid: A User's Guide to Digital Arts, Media, and Cultures (2000), MIT Press, CT
19. Manovich L. The Language of New Media (2001), MIT Press
20. No. 8. More G., Harvey L., Burry J.M., and Burry M. August. Implementing Nonlinear Sound Strategies within Spatial Design: Learning sound and Spatial Design within a Collaborative Virtual Environment Vol. 17 (2003), DAC, Melbourne 128-134
21. Morse M. Talk Talk Talk-The Space of Discourse in Television News, Sportscasts, Talk Shows and Advertising. Screen Vol. 26 No 2 (1985) 2-15
22. Nichols B. The voice of documentary. Movies and Methods: Vol. 2, An Anthology (1985), University of California Press 258-273
23. Oppel K. Silverwing (1997), HarperCollins, Berkeley
24. In: Packer R., and Jordan K. (Eds). Multimedia: From Wagner to Virtual Reality (2001), W. W. Norton & Co., Toronto
25. Paulin S.D. Richard Wagner and the fantasy of cinematic unity: the idea of the Gesamtkunstwerk. In: Buhler J., et al. (Ed). The History and Theory of Film Music, Music and Cinema (2000), Wesleyan University Press, New York 58-84
26. Rapée E. Motion Picture Moods (1924), G. Schirmer, Hanover, NH
27. Schafer R.M. The Tuning of the World (1977), Alfred A. Knopf, New York
28. Smith G.M. Navigating myst-y landscapes: killer applications and hybrid criticism. In: Henry J., McPherson T., and Shattuc J. (Eds). Hop on Pop: The Politics and Pleasures of Popular Culture (2002), Duke University Press, NY 487-502
29. Taylor D.R.F. The Concept of Cybercartography in Peterson. In: M.P. (Ed) (2003), Maps and the Internet, Elsevier, Durham, NC 403-418
30. Théberge P. Sampling the world: cultural commodification and world music. In: Lysloff R., and Gay L. (Eds). Music and Technoculture (2003), Wesleyan University Press, Amsterdam 93-108
31. Théberge, P. (forthcoming) "Almost silent: the interplay of sound and silence in contemporary cinema and television", in Beck, J. and A. Grajeda (eds.), Lowering the Boom: New Essays on the History, Theory, and Practice of Film Sound.
32. Also available online in a somewhat different version at http://www.filmsound.org/articles/designing_for_sound.htm, accessed 04 April 2000. Thom R. Designing a Movie for Sound, iris Vol. 27 (1999) 9-20
33. In: Truax B. (Ed). Handbook for Acoustic Ecology (1978), ARC Publications, Middletown, CT