Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.An infamous example occurred when CBS used recorded bird sounds in its broadcast of the PGA Championship, ... Fox, for example, was known for adding whooshing sound effects to sports coverage, in order to add excitement as well ... effects and movement of sounds from left channel to right channel, coinciding with graphic movements on the screen. TV critic Rick Kogan (1990) noted, aThere is nothing subtle about ... its sound-effects gizmos, a calling the show a anoisya exercise.
|Author||:||Paul Théberge, Kyle Devine, Tom Everrett|
|Publisher||:||Bloomsbury Publishing USA - 2015-01-29|