Abstract

A fact marks recent history: the relation between music and technology. But this alliance must be readjusted as the cultivated music previous to our age was based also on tehcnology, but a different one. Many different aspects of a change in music and its aesthetic, social and pedagogical consequences appear in school as a new enviromment of new languages.

Abstract

We can say that television is a social or mass médium, sent to all the saciety, so there are million of addressers uho receive the messages at the same time. If maves TV a perfect way to pass ideas, thoughts and products on, so the advertising World uses it to sell its products using various elements, standing out the sound and the music. The called creative of advertising ark themselves questions about the Picture World, the sound, the music and the best colours tos ele some products or spread some facts though television.

Abstract

This article analyses the possibility offered by the Internet to select radio content to build customized radios. Each internet user could select radio content, replacing the traditional radio stations that have always broadcasted. Previous results from our investigations are presented to allow us to compare the still-existing traditional radio to some of the offers on the Internet. Such a comparison will allow us to determine two different ways of listening to the radio on the Internet: the usual one, which allows the coexistence of listening and any parallel social practice (work, driving, etc.), and another one, appropriate to the internet, that adds visual attention to hearing. It is unavoidable to consider this as a loss compared to the visual independence that radio has always allowed.

Abstract

This essay examines the relationship between player and diegetic sound FX in immersive computer game environments and how this relationship leads, in large part, to the contextualization of the player within the virtual world of the game. This contextualization presupposes a primarily sonically-based perception of objects and events in the world and, in a multi-player game, this ultimately leads to communication between players through the medium of diegetic sound. The players’ engagement with, and immersion in, the game’s acoustic environment is the result of a relationship with sound that is technologically mediated. The game engine, for example, produces a range of environmental or ambient sounds and almost every player action has a corresponding sound. A variety of relevant theories and disciplines are assessed for the methodological basis of the points raised, such as film sound theory and sonification, and, throughout, the First-Person Shooter sub-genre is used as an exemplar. Such games include the «Doom» and «Quake» series, the «Half-Life» series and derivatives and later games such as «Left 4 Dead». The combination of the acoustic environment, the interactive placement of the player – as embodied by his virtual, prosthetic arms – in the environment and the sonic relationships between players produces the acoustic ecology. An exposition of this multi-player communication and the resultant acoustic ecology and player immersion, is the main objective of the essay.

Abstract

Sound remains significantly underresearched as a form of communication, as a modality of experience, and as a resource for cultural expression and social interaction. This is in spite of the centrality of sound in most media and communicative practices, including face-to-face interaction and digital networks. Recent years, however, have witnessed a revitalized interest internationally in the area. This review revisits previous research on three sound prototypes – speech, music, and environmental soundscapes – which has mostly been undertaken in separate disciplines: rhetoric, philology, linguistics, classical musicology, popular music studies, architecture, discourse analysis, and more. The article, further, outlines the potential for more interdisciplinary research on sound as communication – as a source of meaning and as a resource for action. This potential is suggested by the diffusion of mobile media and the pervasiveness of communication in everyday contexts. At present, ordinary media users are in position, not only to receive, but also to send diverse forms of auditory, visual, as well as textual information. Users are becoming senders in new configurations of one-to-one, one-to-many, and, increasingly, many-to-many communication. Ubiquitous soundscapes and other mediascapes are even challenging received notions of what a ‘medium’ is and could be. In conclusion, the article suggests that the growing current interest in sound studies itself may be the product of a reconfigured media environment in which sound has come back in style.

Abstract

Brand creation and management has undergone a substantial change in recent years as a result of new communication strategies, adaptation to the digital transmedia paradigm, and interaction with consumers. The use of an audio identity as a variable in this architecture and its inclusion in the different points of contact with consumers has generated a growing interest in audio branding. This article responds to the need to establish a conceptual basis and the state of the art in order to advance in the in-depth study of the discipline through a systematic review of the literature. This review was carried out in the Web of Science databases for the 2011–2020 period. After the initial filtering, a total of 36 articles were analysed and divided into four areas of relevance: phonetics in brand names, audiovisual advertising and branding, local city or country branding, and political branding.