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Sound Design is the New Score explores the new trend of blurring the line between score and sound design which has transformed contemporary film soundscape by rejecting the conventions of classical scoring and challenging the modes of perception it shaped.

Motion picture music --- Film soundtracks --- History and criticism. --- Motion picture music - History and criticism --- Film soundtracks - History and criticism --- Sound design

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Das Theater ist nicht zuletzt auch ein Ort des Hörens, ein »Auditorium«: Die Klanglandschaft gegenwärtiger Theateraufführungen ist von ausgefeilten Sound Designs, Melodie-Loops, Popsongs, Opernarien, Geräuschen oder anhaltenden Stillephasen geprägt. Bei Katie Mitchell, David Marton, Michael Thalheimer, Christoph Marthaler und anderen wird nicht nur viel, sondern vor allem jeweils anders gehört. Katharina Rost analysiert die verschiedenen Hörweisen, die sich durch die akustische Gestaltung von Aufführungen und Dynamiken der auditiven Aufmerksamkeit ergeben - z.B. »Abdriften«, »Absorbiertsein«, »Aufhorchen« oder »Entrücktsein« -, und fragt, inwiefern diese Wahrnehmungsmodi in einem Spannungsverhältnis zum historischen Rezeptionsideal des konzentrierten Zuhörens stehen. »Innovativ ist [...] der Anspruch, neue Kategorien für die Aufführungsanalyse des zeitgenössischen Theaters zu finden, die vor allem das Hören in den Vordergrund stellen.« Sebastian Reinhard Richter, MEDIENwissenschaft, 2-3 (2018)

Theaters --- Sound effects. --- Sound effects in theaters --- Electronic sound control --- Stage-setting and scenery --- Theater; Sound Design; Musik; Klang; Hören; Aufmerksamkeit; Kulturgeschichte; Theaterwissenschaft; Theatergeschichte; Kulturwissenschaft; Theatre; Music; Sound; Hearing; Mindfulness; Cultural History; Theatre Studies; History of Theatre; Cultural Studies --- Cultural History. --- Cultural Studies. --- Hearing. --- History of Theatre. --- Mindfulness. --- Music. --- Sound Design. --- Sound. --- Theatre Studies.

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Sound Design for Moving Image offers a clear introduction to sound design theory and practice to help you integrate sound ideas into your productions. Contemporary soundtracks are often made up of hundreds of separate tracks, and thousands of individual sounds, including elements of dialogue, music and sound effects. As a result, many budding filmmakers find them a daunting prospect, and are tempted to leave sound to the last stages of post-production. This book, from award-winning Sound Designer Kahra Scott-James, encourages you to incorporate sound into your pre-production planning, to make the most of this powerful narrative tool. Adopting a specific framework in order to help demystify sound design for moving image, the book isn't designed as a sound engineering handbook, but as a guide for moving image content creators wanting to explore sound and collaborate with sound designers. Regardless of medium, the same, or similar concepts can be adopted, adapted, and applied to any project employing sound.Includes detailed and insightful interviews with leading sound designers, including Randy Thom, Director of Sound Design at Skywalker Sound, and Glenn Kiser, Director of the Dolby Institute, as well as practical projects to help you hone your skills using video and sound files available from the companion website - https://bloomsbury.com/cw/sound-design-for-moving-image - making this is a complete sound course to take you from novice skills to confident practitioner

Sound motion pictures --- Sound --- Motion pictures --- film --- filmtechniek --- geluid --- geluidstechniek --- sound design --- montage --- 791.42 --- Film editing (Cinematography) --- Motion picture editing --- Motion picture film editing --- Sound effects (Motion pictures) --- Disk recording --- Recording of sound --- Reproducing of sound --- Sound recording and reproducing --- Sounds --- Moving-pictures, Talking --- Talkies --- Talking motion pictures --- Recording and reproducing --- Sound effects --- Editing --- Montage --- Sound motion pictures. --- Recording and reproducing. --- Sound effects. --- Editing.