Arts and Humanities Commons^™

Ron’S Right Arm: Tactility, Visualization, And The Synesthesia Of Audio Engineering, Eliot Bates

Publications and Research

Most scholarship on audio engineering analyzes practices and practitioners in terms of musical and technical knowledges. The few references to sensory perception typically center on critical listening practices (“golden ears” engineers), audiophilia, and technologies of audition. However, particularly in light of computer-based workflows, the practice of audio engineering features carefully developed synesthesias of critical listening, visualization of digital audio, and tactile manipulations of interfaces, which can’t adequately be explained as cognitive processes or as conscious knowledge.

I draw on literature in the emerging field of sensory scholarship, in particular Brian Massumi’s theorization of synesthesia and affect and Charles Hirschkind’s analyses …

Brigadoon: Lerner And Loewe's Scotland, Jennifer Oates

Publications and Research

Since the 1950s, Brigadoon has been accepted as a representation of Scotland. Brigadoon’s Scotland consists of a highland landscape with lochs, mists, castles populated by fair maidens, warlike yet sensitive kilted men and bagpipers. Much of this comes from the invented traditions of Scotland, particularly kilts and clan tartans; late nineteenth- and early twentieth-century Scottish literature; Scottish propaganda for tourism following WWII; and Scottish popular culture. In spite of Lerner’s well-written book, Loewe’s charming music, and Agnes De Mille’s exciting choreography, the Scottishness of the work received, and still receives, the most attention. Brigadoon’s inauthentic or dubious depiction of …

“Etc. Etc.” Reliquias Y Fragmentos De Una Sonata De Schubert, Antoni Pizà

Publications and Research

Resumen:

Tomando como ejemplo el caso de Reliquie, Sonata para piano en do mayor D. 840 de Schubert, este ensayo explora los entresijos que generan las obras musicales incompletas. ¿Qué diferencia hay entre un fragmento amputado y uno inacabado? ¿Qué autoridad tienen las reconstrucciones de obras incompletas? ¿Qué opciones tiene el intérprete a la hora de ejecutar esta obra? ¿Por qué nos atraen los fragmentos? La Sonata para piano en do mayor consiste en dos movimientos completos y otros dos inconclusos. Si bien algunos pianistas como Paul Badura-Skoda han grabado esta obra con su propia compleción, Sviatoslav Richter interrumpe su …