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Living stereo : histories and cultures of multichannel sound / edited by Paul Théberge, Kyle Devine, Tom Everrett.

Contributor(s): Théberge, Paul [editor.] | Devine, Kyle [editor.] | Everrett, Tom [editor.]Material type: TextTextPublisher: London : Bloomsbury, 2015Description: 320 pages : illustrations (black and white)Content type: text | still image Media type: unmediated Carrier type: volumeISBN: 9781623566654 (pbk.) :Subject(s): Sound -- Recording and reproducing -- History | Stereophonic sound systems -- History | Sound -- Social aspects -- History | Music -- Social aspects -- History | Audio equipment industry -- History | Listening -- Social aspects -- History | Technology | TechnologyDDC classification: 621.3'89334'09 Summary: Stereo is everywhere. The whole culture and industry of music and sound became organised around the principle of stereophony during the 20th 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 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.
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Item type Current library Home library Shelving location Class number Status Date due Barcode Item reservations
Book Book Paul Hamlyn Library Paul Hamlyn Library Floor 2 621.3893 LIV (Browse shelf(Opens below)) Available 06565417
Book Book Paul Hamlyn Library Paul Hamlyn Library Floor 2 621.3893 LIV (Browse shelf(Opens below)) Available 06142516
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Includes bibliographical references and index.

Stereo is everywhere. The whole culture and industry of music and sound became organised around the principle of stereophony during the 20th 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 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.

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