Spatial and subjective points-of-audition in binaural recordings

Binaural microphones worn in the ears of the recordist and plugged into a portable recording device are a discrete and portable way to capture audio recordings. The binaural audio, when heard over headphones, ideally presents an externalised and immersive recreation of sounds as heard by the recordist. Amongst the potential uses for this recording and playback method is the vivid presentation of a subjective point-of-audition meaning the listener hears events from the perspective of an active participant in the soundscape. In recordings of music this means that the listener can hear the performance ‘through the ears’ of a performer. Editing can be used to move between the points-of-audition of different performers or to incorporate recordings from spatial points-of-audition (where the listener perceives the soundscape from the perspective of a non-presence as in most audio recordings). As with Michel Chion’s explanations of spatial and subjective points-of-audition in film sound in his 1994 book Audio-Vision, the presentation will clarify these terms using comparable examples of camera shots. The creative use of subjective and spatial points-of-audition will then be illustrated using audio examples of free improvisation, found sound composition and soundscape composition and their use in other areas of mainstream and non-mainstream music will be discussed

Sound Theology: The Risk of Audition

(Excerpt) It was after I had settled on a tide for this presentation that the irony of it all hit me. Thinking about being on this campus and holding forth on the topic on sound theology and the risk of audition, I was suddenly reminded of an autumn day In 1968, when I first came to this University, played an organ audition with then reigning chapel organist, Dr. Philip Gehring. As I reflect back, however, I am not sure whether that experience should be appropriately categorized as a risk or musicological embarrassmen

The audition.

This thesis is a collection of poems written during two years of study in the MFA writing program at UNC Greensboro. Poems concern circus performers, eccentrics, and an attempt to give a voice to the voiceless

ODAS: Open embeddeD Audition System

Artificial audition aims at providing hearing capabilities to machines, computers and robots. Existing frameworks in robot audition offer interesting sound source localization, tracking and separation performance, but involve a significant amount of computations that limit their use on robots with embedded computing capabilities. This paper presents ODAS, the Open embeddeD Audition System framework, which includes strategies to reduce the computational load and perform robot audition tasks on low-cost embedded computing systems. It presents key features of ODAS, along with cases illustrating its uses in different robots and artificial audition applications

When idols look into the future: fair treatment modulates the affective forecasting error in talent show candidates

People's affective forecasts are often inaccurate because they tend to overestimate how they will feel after an event. As life decisions are often based on affective forecasts, it is crucial to find ways to manage forecasting errors. We examined the impact of a fair treatment on forecasting errors in candidates in a Belgian reality TV talent show. We found that perceptions of fair treatment increased the forecasting error for losers (a negative audition decision) but decreased it for winners (a positive audition decision). For winners, this effect was even more pronounced when candidates were highly invested in their self-view as a future pop idol whereas for losers, the effect was more pronounced when importance was low. The results in this study point to a potential paradox between maximizing happiness and decreasing forecasting errors. A fair treatment increased the forecasting error for losers, but actually made them happier

METODE PENGAJARAN MENGGUNAKAN MODEL AUDISI PENCARIAN BAKAT DI TELEVISI

TEACHING METHODS USING THE TELEVISION TALENT SEARCH AUDITION MODELThe  main purpose of this study was to answer the five (5) questions the research on: Motivation, Achievement, competition, prestige (esteem) and orderly time, will be missed on the research results, in addition to the collaboration between the teaching style audition with, the development of a model audition   that of the entertainment program on television. This research study is to do a collaboration between teaching style audition to audition models program  television.The study the authors chose a model using fenomenology, in an effort to further explore the internal factors and external factors of the participants individually, so not just displaying figures on the above calculation paper. Findings   From the results obtained from processing of data and calculation of the amount of value as well as the interview shows the results of the acquisition value the better of each meeting seen this from the value that was obtained, at a meeting of the audition stage three (3), already visible once the values are moving fluctuating. Significance  those who scored high and moderate increased while the low score decreased, indicating a significant change, after combining teaching methods and audition models such as television programs (talent shows)., There was a significant increase

The Organizational Culture of the Los Angeles Clipper Spirit Audition Process from the Dance\u27s Perspective

The following study is an organizational communication culture analysis of the Los Angeles Clipper Spirit audition process from the dancer\u27s perspective. The Clipper Spirit is the professional NBA dance team that has been entertaining Clipper fans for the past eighteen seasons. Their reputation for excellence attracts some 300 Clipper Spirit hopefuls to auditions every year. Within the organizational culture of the audition process lies meanings and expectations which can be revealed through the organizational communication culture theory (Bantz, 1993). Through research it has been discovered that dancers have their own perspective on the audition itself and have many different ways of communicating throughout the process. The dancers also have their own personal vocabulary and stories that represent the organizational culture of the audition. As a participant in the audition, dancers quickly learn what the Clipper Spirit judges look for when selecting members. This study carefully analyzes the process dancers go through during the Clipper Spirit audition and how as organizational members they interact and communicate within the culture

Applicability of periodization to orchestral audition preparation on trombone: a case study

The process of auditioning can seem daunting because of the high standards of performance required to win. Brass players have a finite amount of time they can practice each day because of the small muscles of the embouchure. Despite the vast amount of information available on preparing for a brass orchestral audition, little has been written on how to organize a practice schedule leading up to the audition. An analysis of literature in the major brass journals confirm which strategies have been considered to be most important when preparing for an audition, but an important component from the world for athletics is often overlooked. The concept of periodized training from the sports world is introduced as a way to guide the auditioner in implementing these strategies to prepare in the most efficient way possible. With a periodized plan, the brass player will be better able to identify and focus on their own audition-specific strengths and weaknesses. This will provide a template that could help avoid injury and support peak performance when it matters most: at the audition. Interviews with professional trombonists offered in the appendices provide a unique perspective on auditions and their individualized approach to each audition

Pedagogical literature for violists: selected studies from Lillian Fuchs's 16 Fantasy Études and corresponding orchestral excerpts

Title from PDF of title page, viewed on June 14, 2013Dissertation advisor: Scott LeeVitaIncludes bibliographic references (p. 95-98)Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2013Few colleges and music festivals offer intensive orchestral studies programs as part of the string department curriculum, and those that do focus solely on excerpts and audition preparation. This dissertation proposes a post-graduate course to establish a comprehensive curriculum. The course utilizes two resources, Lillian Fuchs's 16 Fantasy Études and common orchestral audition excerpts. The 16-week course will help students build their musicality and craftsmanship by studying selected études and standard viola audition repertoire. Each étude will address the technical and musical demands of its given excerpt, and the course will offer students suggestions as how to practice them. Aiming to foster future educators and professional orchestral violists, the author concentrates on the pedagogical and problem-solving aspects of audition preparation.Introduction -- Audition application and procedure -- Audition preparation -- Lillian Fuchs: Sixteen Fantasy Études for viola -- Studies of selected etude and audition excerpts -- Conclusion -- Appendix A. Course syllabus -- Appendix B. Audition repertoire list surve