Details

Subject(s)

• Sound design [Browse]

Editor

• Filimowicz, Michael [Browse]

Summary note

The Routledge Handbook of Sound Design offers a comprehensive overview of the diverse contexts of creativity and research that characterize contemporary sound design practice. Readers will find expansive coverage of sound design in relation to games, VR, globalization, performance, soundscape, and feminism, amongst other fields.

Bibliographic references

Includes bibliographical references and index.

Source of description

• Description based on publisher supplied metadata and other sources.
• Description based on print version record.

Contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Table of Contents
• Contributor Biographies
• Volume Preface
• Acknowledgment
• 1 Listener Perspective in Games and Virtual Reality
• 1.1 Introduction
• 1.2 The Perceptual 'Frame'
• 1.3 The Film-, Game- and Surrogate Body
• 1.4 Realism and Cine-Realism
• 1.5 Embodied Listening
• 1.6 Conclusion
• References
• 2 Sciences of Sound Design: Research in Sound Design and Its Interactions With the Design Discipline
• 2.1 Introduction
• 2.2 Sound Design: Histories, Characterizations and Definitions
• 2.2.1 Historical Departure Points
• 2.2.2 Characteristic Features
• 2.2.3 Tentative Definitions
• 2.2.4 Sound + Design = Sound Design?
• 2.3 Sciences of Sound Design: Filiation and Singularities
• 2.3.1 Sound Design Research: Filiation
• 2.3.2 Sound Design Research: Singularities
• 2.3.2.1 How Do You Do Collaborative Sound Design?
• 2.3.2.2 What Is a Sound Prototype?
• 2.4 Conclusion
• 3 The Globalization of Sound Design
• 3.1 Introduction
• 3.2 Matters of Globalization
• 3.3 Globalization and Media
• 3.4 A Question of Homogenization Or Diversification
• 3.5 Globalization, Homogenization and Sound Design
• 4 Enacting the Environment Through Sound: Reflections On the Use of Cognitive Metaphors as a Design Framework in Sound Interaction Design
• 4.1 Introduction
• 4.2 Designing for Intuitive Interaction
• 4.3 Listening and Interaction
• 4.3.1 The Enactive Approach
• 4.4 The Environment as Refracted Through Cognition
• 4.4.1 Sound and Multimodality
• 4.4.2 User-Specific Conditions for Interaction
• 4.5 Coda
• 5 Cultivating Sounds: Relational Acoustics Within the Buchla-Serge Paradigm
• 5.1 Venturing Outside
• 5.1.1 The 'Standard Model' and the 'Buchla-Serge Paradigm'
• 5.1.2 Relational Acoustics
• 5.2 Preparing the Ground.
• 5.2.1 The Three Pillars of the Buchla-Serge Paradigm
• 5.2.2 Variable Wave Shapes
• 5.2.3 Multiple Ins and Outs
• 5.2.4 Multifunctionality (And Patch Programmability)
• 5.3 Cultivating Sound
• 5.3.1 Audio Feedback Patching
• 5.3.2 CV Feedback Patching
• 5.3.3 CV and Audio Feedback Patching
• 5.4 The River Through the Garden
• 6 Acid Music and Sound Design: An Examination of the Sound Design Techniques Used in a Selection of Acid Music Tracks
• 6.1 Introduction
• 6.2 The Instruments
• 6.3 Audio Effects
• 6.3.1 Balance
• 6.3.2 Panning
• 6.3.3 Dynamic Processing
• 6.3.4 Saturation
• 6.3.5 Time-Based Effects
• 6.3.6 Modulation-Based Effects
• 6.4 The Tracks
• 6.4.1 Phuture, "Acid Tracks"
• 6.4.2 Underground Resistance, "The Seawolf."
• 6.4.3 F.U.S.E., "Substance Abuse"
• 6.4.4 TM404, "303/303/303/303/606"
• 6.4.5 Universal Indicator, "15c7"
• 6.4.6 Zsa Zsa Laboum, "Something Scary"
• 6.4.7 Hardfloor, "Acperience 1"
• 6.5 Conclusions
• 7 Managing Complexity in Multi-Device Environments
• 7.1 Introduction
• 7.2 Survey
• 7.2.1 Emerging Application Areas
• 7.2.1.1 Multi-User Experience Environments
• 7.2.1.2 Multi-Device/multi-Function Personal Contexts
• 7.2.1.3 Object Design
• 7.2.1.4 Properties of Contemporary Sonic Media Experiences
• 7.2.2 The Technology Landscape
• 7.2.2.1 Coordinating Sound-Making: Hardware
• 7.2.2.2 Spatial Formats
• 7.2.2.3 Media Device Orchestration
• 7.3 Analysis
• 7.3.1 Complexity as a Design Concern: Constraints and Affordances
• 7.3.2 Conceptualizing Sound Design
• 7.3.2.1 Conceptualizing Sound
• 7.3.2.2 Conceptualizing Space
• 7.3.3 Handling Hybrid Design Challenges
• 7.4 Discussion and Conclusion
• 8 Performative Sound Design: A Cultural Perspective On the Art and Craft of Foley
• 8.1 Foley as Sonic Character Development.
• 8.2 The Development of a Performative Sound Craft
• 8.3 Postproduction Sound Workflow in Hollywood
• 8.4 Postproduction Sound in New York and the San Francisco Bay Area
• 8.5 Foley Across the Globe
• 8.6 Zoomorphic Foley
• 8.7 Cultural and Industrial Ethnography
• 8.8 Future Flows of Performative Sound Design
• 9 The Sounds of Televised Sports
• 9.1 Introduction
• 9.2 Typology
• 9.2.1 Restructuration
• 9.2.2 Supplementation
• 9.3 Communicative Functions
• 9.3.1 The Emotive and Conative Functions
• 9.3.2 The Referential and Metalingual Function
• 9.3.3 The Phatic and Poetic Functions
• 9.4 Conclusions
• 10 Collaborative and Integrated Feminist Approaches to Sound Design
• 10.1 Gathering Threads: an Introduction to Feminist Approaches in Sound and Animation
• 10.2 Historical Approaches to Computing, Technology, Sciences and Arts: an Introduction to the Interplay of Sound and Animation
• 10.2.1 Historical Approaches
• 10.2.2 Contemporaneous and Collaborative Approaches
• 10.2.3 The Embodied Physicality of Sound
• 10.3 Sound as a Multi-Threaded Medium
• 10.3.1 Sound in Film
• 10.3.2 Sound, Location and Space
• 10.3.3 Animation and Sound Work: Mapping Movement
• 10.4 Pocket Theatre: Weaving, Sewing Sound and Imagery Together
• 10.4.1 Anthropomorphism and Science-Fiction Sound Design
• 10.4.2 Sound Collection and Recording Strategies
• 10.4.3 Combining the Worlds of Sound and Imagery
• 10.5 A Low-Carbon/sustainable Framework for a Digitized Artificial World
• 10.6 Future Filaments: the Matrix of Future Collaborative Works
• 10.7 Conclusion: Tying Up Loose Ends
• Notes
• 11 The Soundtrack as an Acoustic Environment: Some Insights From Soundscape Research
• 11.1 Introduction
• 11.2 A Brief History of Soundscape Research
• 11.2.1 The World Soundscape Project.
• 11.2.2 The Sonic Turn and ISO 12913
• 11.3 The Soundscape in Sound Design
• 11.3.1 Embodied Listening
• 11.3.2 Meaning-Making in Sound Design
• 11.4 The Soundtrack as an Acoustic Environment
• 11.5 Soundscape in Virtual Production
• 11.6 Overcoming Challenges in Ocularcentric Production
• 11.6.1 Explaining Sound Visually
• 11.6.2 Two-Dimensional Graph
• 11.6.3 Cluster Diagram
• 11.7 Conclusions
• 12 Soundwalking: Three Acts of Attunement, Motion and Breath
• 12.1 Introduction
• 12.2 Soundwalks as Creative and Cultural Exploration
• 12.3 Contemporary Entanglements: Three Soundwalks
• 12.3.1 Soundwalk 1: A Small Piece of Sky
• 12.3.2 Soundwalk 2: Between the Alleys of Nelson
• 12.3.3 Soundwalk 3: Seeking Comfort in Covid Times
• 12.4 Conclusion
• 13 Sound Branding and Brand Sounds: Traits, Types and Origins
• 13.1 Introduction
• 13.2 The Definition of Sound Branding
• 13.3 McDonald's: Pa-Ra-Pa-Pa-Pa
• 13.3.1 Alterations
• 13.3.2 Adaptations
• 13.3.3 The Sonic Logo as a Brand Sound
• 13.4 Coca-Cola: the Pss-Sound From Opening a Bottle
• 13.4.1 Reduced Listening and Iconic Signification
• 13.4.2 Causal Listening and Indexical Signification
• 13.4.3 Semantic Listening and Symbolic Signification
• 13.4.4 The Pss-Sound as a Brand Sound
• 13.5 Conclusions
• 14 Emotional Intent in Sound Design
• 14.1 Emotional Intent in Sound Design
• 14.2 Reel 1: In the Beginning Was … Sound
• 14.3 Reel 2: New Wave, New Ways
• 14.4 Reel 3: the Sound of Music
• 14.5 Reel 4: Presentation Is Everything
• 14.6 Reel 5: You Say Perspective, I Say Perfection
• 15 Psychoacoustics in Sound Design
• 15.1 Introduction
• 15.2 Binaural Audio and Psychoacoustics
• 15.2.1 Binaural Audio
• 15.2.2 What Is Psychoacoustics?
• 15.2.3 Limits of Psychoacoustics.
• 15.2.4 Evaluation of 3D (Spatial) Audio Events With a Web Application
• 15.2.4 Main Research Questions Using the Web EmoTouch to Assess Users' Sound Experience
• 15.2.5 Participants
• 15.3 Analyses of the Collected Data With T-Tests
• 15.4 Results
• 15.5 Discussion
• 16 Designing Sonic Interactions in Intelligent Reality With Egocentric Audio Technologies
• 16.1 Introduction
• 16.2 Egocentric Audio Technology
• 16.2.1 Spatial Centrality
• 16.2.2 Binaural Hearing
• 16.2.3 The Auditory Digital Twin
• 16.2.3.1 Post-Human Participation
• 16.2.3.2 The Locus of Agency
• 16.3 Sonic Experiences
• 16.3.1 Immersion
• 16.3.2 Coherence
• 16.3.3 Entanglement
• 16.4 Design Thinking Insights
• 16.4.1 Discovery Phase
• 16.4.1.1 Use-Case Scenarios
• 16.4.1.2 Interviews and Autoethnography
• 16.4.1.3 Empathy Mapping
• 16.4.1.4 Journey Mapping
• 16.4.2 Definition Phase: Actor-Network Map
• 16.5 Entanglement EXperience Map
• 16.6 A Case Study On Cultural Heritage
• 16.6.1 Narrami: Discovery Phase
• 16.6.2 Narrami: Definition Phase
• 16.6.3 Narrami: EXMap
• 16.7 Discussion and Reflections
• 16.8 Conclusions and Future Directions
• 17 Hidden Tracks: A Spatial Composition to Go
• 17.1 Headphone Listening in Public Space
• 17.2 The Auditory Scene
• 17.3 Spatial Sound Design of Hidden Tracks
• 17.4 The Sound of Electromagnetic Fields
• 17.5 Producing Spatial Audio for Hidden Tracks
• 17.5.1 From Mono Format to Multi-Channel Audio
• 17.5.2 Recording Multi-Channel Audio With Swirling Dummy Head
• 17.5.3 From the Outside in
• 17.6 Soundart in Public Space
• 18 The Breakthrough of Consultancy in Music Production: A Political Economy of Sound Design in the 'Creative Economy'
• 18.1 Introduction
• 18.2 The Socioeconomic History of Music Production for the Media, and the Centrality of Copyright.
• 18.3 Between Music Production and 'Sound Consultancy': Mapping the Sound Design Sector.

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ISBN

• 9781040131008
• 104013100X
• 9781040130957
• 104013095X
• 9781003325567
• 1003325564

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