Attention — Audio Journal for Architecture

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4A. Introduction

0s · Published 06 Jan 12:00

The introductory audio essay illuminates four aspects of sound in physical space—location, size, reverberation and environmental noise—with examples of how composers from across the spectrum of Western art music exploited these phenomena in their music. Acoustician Jürgen Meyerand musicologist Elaine Sisman show how the classical composer Joseph Haydn used space to create musical effects beyond the boundaries of melody, harmony, rhythm and dynamics.

We were unable to find the audio file for this episode. You can try to visit the website of the podcast directly to see if the episode is still available. We check the availability of each episode periodically.

4B. The Sound of Absence

27m · Published 06 Jan 12:00

What is music like without the sound of a space? Historian Emily Thompson discusses the aesthetics, technology and politics of spatial absence at the dawn of the recording era while John and Susan Edwards Harvith explain how musicians coped with, adapted to and sometimes thrived in the acoustically dead confines of the recording studio.

4B. The Sound of Absence

27m · Published 06 Jan 11:00

What is music like without the sound of a space? Historian Emily Thompson discusses the aesthetics, technology and politics of spatial absence at the dawn of the recording era while John and Susan Edwards Harvith explain how musicians coped with, adapted to and sometimes thrived in the acoustically dead confines of the recording studio.

4C. Even Better than the Real Thing

29m · Published 06 Jan 11:00

In the 1950s, classical record producers were fixated on realism, aspiring to put listeners in the ‘best seat of an acoustically perfect hall.’ Not so for John Culshaw, however, a maverick producer who used new stereophonic technology to produce operas that were more dramatic, more spatially immersive and (so he claimed) more faithful to a composer’s intentions. Sonic highlights from Culshaw’s producing career accompany a reading from his two memoirs, ‘Ring Resounding’ and ‘Putting the Record Straight.’

Attention — Audio Journal for Architecture

Episodes

4A. Introduction

4A. Introduction

4A. Introduction

4A. Introduction

4A. Introduction

4A. Introduction

4A. Introduction

4B. The Sound of Absence

4B. The Sound of Absence

4C. Even Better than the Real Thing

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