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Sound Media considers how music recording, radio broadcasting and muzak influence people's daily lives and introduces the many and varied creative techniques that have developed in music and journalism throughout the 20th century. Lars Nyre starts with the contemporary cultures of sound media, and works back to the archaic soundscapes of the 1870s

Soundscape : sound, space, and listening -- Noise : from the everyday to the exceptional -- Voice : hearing and ascribing individual and social identity -- Sound on the page : echoes and resonances in writing -- Sound design/designing sounds : intentionally crafted sonic worlds -- Sound art : what is sound? Debates and examples -- Concluding exercise : putting the pieces together through audio narratives.

Cover -- Title Page -- Copyright -- Contents -- Acknowledgments -- Note on Transcription -- Listen to the Records -- Introduction: "A Most Valuable Medium -- 1. "Come in Here and Hear Them Speak!": Campaign Speeches and Political Publics (with Patrick Feaster) -- 2. "Accordin' to the Gospel of Etymology": Aural Blackface and New African American Poetics -- 3. "We Always Enjoy a Good Story": From Monologue to Audio Theater -- 4. "Talking Machine Storyteller": Cal Stewart and the Remediation of Storytelling -- 5. "Somebody Stole My Tune!": Charles Ross Taggart and Country Communicability -- 6. "I Don't See No Mans": Bridging the Schizophonic Gap -- Discography (by Patrick Feaster) -- References -- Index -- About the Author.

Cover -- Contents -- Preface -- Acknowledgements -- PART 1 Why That Sound? Annoyance andExcitement by Design -- 1 Working -- 2 Consuming -- 3 Suffering -- 4 Joy -- PART 2 Sonic Labor: Statements, Situations, and Cases With illustrations by Julia Krause -- 5 Location and Apparatus -- 6 Skills and Habits -- 7 Conflicts and Heuristics -- 8 Portfolio and Presentation -- PART 3 Living With Sound: The Semiotics and Mediology of Sonic Signs Written in collaboration with Carla J. Maier -- 9 Signifying Sounds -- 10 Situated Signaling -- 11 Transmitting Sounds -- 12 Transcultural Aurality -- PART 4 Sound Works: A Cultural Theory of Sound Design -- 13 The Silencing Dispositive -- 14 The Economy of Sound -- 15 The Panacoustic Society -- 16 The Sonic Capital -- References -- Index.

Intro -- Dedication -- Preface -- Acknowledgments -- Contents -- About the Author -- Chapter 1: Introduction to Forensic Audio Analysis: Authenticity, Enhancement, and Interpretation -- References -- Chapter 2: Fundamentals of Audio Signals and Systems -- 2.1 Sound -- 2.2 Sound Pressure Level -- 2.3 Wavelength, Frequency, and Spectrum -- 2.4 Wave Propagation and Spherical Spreading -- 2.4.1 Reflections and Reverberation -- 2.4.2 Microphone Directionality -- 2.5 Human Hearing Characteristics -- 2.5.1 Anatomy and Physiology of the Ear -- 2.5.2 Psychoacoustics -- 2.5.3 Frequency Weighting in SPL Measurements -- 2.5.4 Speech Intelligibility -- 2.6 Signal Processing -- 2.7 Digital Audio -- 2.8 Perceptual Audio Coding -- References -- Chapter 3: History of Audio Forensics -- 3.1 McKeever Case -- 3.2 McMillan Case -- 3.3 FBI Procedures -- 3.4 The Watergate Tapes -- 3.5 Reevaluation of the Assassination of President Kennedy -- 3.6 Talker Identification and "Voiceprints" -- References -- Chapter 4: Handling Forensic Evidence -- 4.1 Basic Tools: Audio Playback, Waveform View, and Spectrographic View -- 4.1.1 Audio Playback System -- 4.1.2 Waveform View -- 4.1.3 Spectrographic View -- 4.2 Starting the Examination -- 4.2.1 Initial Aural Evaluation -- 4.2.2 Critical Listening -- 4.2.3 Waveform Analysis -- 4.2.4 Spectral Analysis -- References -- Chapter 5: Authenticity Assessment -- 5.1 Historic Context: Authenticity of Analog Magnetic Tape Recordings -- 5.1.1 Physical Inspection -- 5.1.2 Magnetic Development -- 5.2 Current Context: Authenticity of Digital Audio Recordings -- 5.2.1 Identifying Edits: Splicing and Mixing -- 5.2.2 Other Authenticity Observations -- 5.2.3 Electrical Network Frequency (ENF) Analysis -- 5.2.4 Metadata Consistency -- References -- Chapter 6: Audio Signal Enhancement -- 6.1 Enhancement Assessment.

With the decline in military spending, the United States relies heavily on state side support. Communications has never been more important. High-quality audio and video capabilities are a must. Watermarking, traditionally used for copyright protection, is used in a new and exciting way. An efficient wavelet-based watermarking technique embeds audio information into a video signal. Several highly effective compression techniques are applied to compress the resulting audio/video signal in an embedded fashion. This wavelet-based compression algorithm incorporates bit plane coding, first difference coding, and Huffman coding. To demonstrate the potential of this audio embedding audio/video compression system, an audio signal is embedded into a video signal and the combined signal is compressed. Results show that overall compression rates of 15:1 can be achieved. The video signal is reconstructed with a median PSNR of nearly 33dB. Finally, the audio signal is extracted with out error.

How has reproduction transformed works of art and literature, their dissemination and their reception? And how does it continue to do so? In what ways have our definitions and practices of reproduction changed over the last centuries thanks to new printing, photographic and digital techniques? These questions are timely. From the medieval copy to contemporary digital culture, including the rise of the printing press and engraving techniques in the Renaissance and the Ancien Régime , myriad modes of reproduction informed both our access to texts and images and our ways of reading, seeing, understanding, discovering and questioning the world. Dans quelle mesure la reproduction transforme-t-elle les œuvres, leur diffusion et leur réception ? De quelles manières les conceptions et les usages de la reproduction ont-ils subi des transformations majeures au cours des derniers siècles avec la diffusion des pratiques d'impression, de la photographie et des techniques numériques ? Ces questions sont d'une actualité incontournable. De la copie médiévale à la culture numérique contemporaine, en passant par l'essor de l'imprimerie et les techniques de gravure à la Renaissance et sous l'Ancien Régime, les différents modes de reproduction informent non seulement nos accès aux textes et aux images, mais aussi nos manières de lire, de voir, de comprendre, découvrir et d'interroger le monde