Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- en:tutorium_spektral [2021/09/30 08:54]
andres_romero
+++ en:tutorium_spektral [2023/05/23 14:06] (aktuell)
martin
@@ Zeile 14: / Zeile 14: @@
 [[https://analyse.hfm-weimar.de/lib/exe/fetch.php?media=aphex_twin_bucephalus_bouncing_ball_selection.mp3|Audio01]]\
-This is an excerpt from the track "Bucephalus Bouncing Ball" by [[https://https://en.wikipedia.org/wiki/Aphex_Twin|Aphex Twin]], a pseudonym of Irish-British electronica artist Richard David James.
+This is an excerpt from the track "Bucephalus Bouncing Ball" by [[https://en.wikipedia.org/wiki/Aphex_Twin|Aphex Twin]], a pseudonym of Irish-British electronica artist Richard David James.
 {{ :audio01_screenshot01.png?400 |[Sreenshot01]}}
@@ Zeile 122: / Zeile 122: @@
 ==== Deepening ====
 An interesting approach to analyzing the sonic aspects of pop music productions using spectrograms is formulated by Simon Zagorski-Thomas. His thesis is that in many pop recordings the peculiarities of a performance by musicians and singers are exaggerated or artificially designed with various studio-technical means (e.g. equalizer, reverb, panorama, delay) - Zagorski-Thomas speaks of //Sonic Cartoons//. On the other hand, especially in electronic music, many unusual and 'unnatural' or synthetically produced or processed sounds are used in such a way that they have similarities to the natural sound environment or even conventional musical instruments (e.g. the sound arrangement of a drum set).
 Simon Zagorski-Thomas: „The Sprectromorphology of Recorded Popular Music. The Shaping of Sonic Cartoons through Record Production“, in it: //The Relentless Pursuit of Tone. Timbre in Popular Music//, by Robert Fink, Melinda Latour and Zachary Wallmark, New York 2018, pp. 345-366.
+{{ :en:tutorial_audio_basics_spectral_sample_solution.pdf |}}