Sound and music for the theatre the art and technique of design
The same loved book you've been using for years - now including everything you need to know about sound design for the theatre. This edition still focuses on aesthetics of sound design for the stage along with design approaches and techniques. You'll still get the in-depth discussion wit...
| Otros Autores: | , |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Elsevier/Focal Press
2009.
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| Edición: | 3rd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627748206719 |
Tabla de Contenidos:
- Front Cover; Sound and Music for the Theatre; Copyright Page; Contents; Foreword; Preface to the First Edition; Preface to the Second Edition; Preface to the Third Edition; Introduction to the First and Second Edition; Introduction to the Third Edition; Acknowledgments; The Art of Looking with the Ear; Chapter 1. The Evolution of Sound Design; THE DEVELOPMENT OF SOUND DESIGN; REFERENCES; Chapter 2. The Foundation of Sound Design; THE FUNCTION AND INTENT OF SOUNDS; SOUND DESIGN AND ONSTAGE ACTION; EMOTION AND CONTRAST; APPROPRIATENESS; THEATRICAL FORMS/STYLES OF SOUND DESIGN
- CONVENTIONS OF MUSIC AND EFFECTSCREATING FOCUS WITH CUEING; CHARACTERISTICS OF THE SOUND CUE; REFERENCES; Chapter 3. Developing the Concept and Design; WORKING WITH THE SCRIPT; CHOOSING SOUND EFFECTS OR MUSICAL EFFECTS; CONSIDERING OTHER DESIGN ELEMENTS; MEETING WITH THE DIRECTOR; BUDGETARY REALITIES; Chapter 4. Research, Resources, and Selection; MUSIC RESOURCES; SOUND EFFECTS RESOURCES; OUTSIDE CONTACTS; THE LEGALITY OF PULLED MUSIC AND EFFECTS; SEGMENTABLE MUSIC; PRESENTING YOUR CHOICES; Chapter 5. The Sound Plot; THE PRELIMINARY PLOT; SUBSEQUENT SOUND PLOTS; SOURCES OR PLAYBACK DEVICES
- TRACKSCUE NUMBERS AND LETTERS; THE LOUDSPEAKER PLOT; Chapter 6. Working with the Theatre Company; CONTRACTS; PRINCIPAL POSITIONS IN THE THEATRE COMPANY; PRODUCTION MEETINGS; BUDGETARY LIMITATIONS; TOURING CONSIDERATIONS; Chapter 7. Preparing to Build the Cues; ORGANIZING YOUR WORK; GATHERING THE SOUND SOURCES; RECORDING YOUR OWN EFFECTS; ASSESSING CUE PARAMETERS; THE BUDGET; THE RUNNING CREW; Chapter 8. Recording, Editing, and Refining Cues; PRERECORDED CUES; SPLITTING TRACKS/ALTERNATE MIXES/PROCESSING; BUILDING THE SHOW; PLAYBACK SYSTEMS; BACKING UP YOUR WORK; LIVE AND PRACTICAL EFFECTS
- Chapter 9. RehearsalsPREPARING FOR TECHNICAL REHEARSALS; SETTING UP IN THE HOUSE; YOUR TECH POSITION; PAPER TECH; LEVEL SET; FIRST TECH; MAKING CHANGES; DRY TECH; DRESS TECH; PREVIEWS; FINAL REHEARSALS; Chapter 10. Running the Show; THE SOUNDCHECK; TOP-OF-SHOW PRESET; POSTSHOW; OPERATING THE SOUND; CUE SHEETS; TRAINING THE NOVICE OPERATOR; TRAINING A REPLACEMENT OPERATOR; TOURING; IN CASE OF EMERGENCY; AFTER THE SHOW CLOSES; Chapter 11. Approaches and Techniques; CREATING STYLIZED EFFECTS; AVOIDING UNIDENTIFIABLE EFFECTS; BUILDING/EXECUTING COMPLEX SEQUENCES; ADJUSTING THE LENGTH OF CUES
- THE DOPPLER EFFECT AND PANNINGBLENDING PITCHES AND CHANGING MUSIC; FIELD RECORDING; COMPRESSING UNDERSCORING; BUILDING A FADE INTO THE CUE; TIMING CUES; PROCESSING THE PERFORMER'S VOICE; PLAYING SOUND CUES WITH A MIDI TRIGGER; RELATIVE DISTANCE; BLENDING LIVE AND PRERECORDED SOUND; TIPS FOR PRODUCING LIVE EFFECTS; AND FINALLY...; Feedback: A Directors' and Playwrights' Forum; THE DIRECTORS; THE PLAYWRIGHTS; DIRECTORS' QUESTIONS; PLAYWRIGHTS' QUESTIONS; More Feedback: A Sound Designers' and Composers' Forum; THE SOUND DESIGNERS AND COMPOSERS; SOUND DESIGNERS' AND COMPOSERS' QUESTIONS
- No More Feedback: A Sound Reinforcement Forum
