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6.551J Acoustics of Speech and Hearing (MIT) 6.551J Acoustics of Speech and Hearing (MIT)

Description

The Acoustics of Speech and Hearing is an H-Level graduate course that reviews the physical processes involved in the production, propagation and reception of human speech. Particular attention is paid to how the acoustics and mechanics of the speech and auditory system define what sounds we are capable of producing and what sounds we can sense. Areas of discussion include: the acoustic cues used in determining the direction of a sound source, the acoustic and mechanical mechanisms involved in speech production and the acoustic and mechanical mechanism used to transduce and analyze sounds in the ear. The Acoustics of Speech and Hearing is an H-Level graduate course that reviews the physical processes involved in the production, propagation and reception of human speech. Particular attention is paid to how the acoustics and mechanics of the speech and auditory system define what sounds we are capable of producing and what sounds we can sense. Areas of discussion include: the acoustic cues used in determining the direction of a sound source, the acoustic and mechanical mechanisms involved in speech production and the acoustic and mechanical mechanism used to transduce and analyze sounds in the ear.

Subjects

HST.714 | HST.714 | sound | sound | speech communication | speech communication | human anatomy | human anatomy | speech production | speech production | sound production | sound production | airflow | airflow | filtering | filtering | vocal tract | vocal tract | auditory physiology | auditory physiology | acoustical waves | acoustical waves | mechanical vibrations | mechanical vibrations | cochlear structures | cochlear structures | sound perception | sound perception | spatial hearing | spatial hearing | masking | masking | auditory frequency selectivity | auditory frequency selectivity | physical processes | physical processes | sound propagation | sound propagation | human speech | human speech | acoustics | acoustics | speech mechanics | speech mechanics | auditory system | auditory system | sound direction | sound direction | ear | ear | 6.551 | 6.551

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21A.360J The Anthropology of Sound (MIT) 21A.360J The Anthropology of Sound (MIT)

Description

This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invi This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invi

Subjects

21A.360 | 21A.360 | STS.065 | STS.065 | CMS.710 | CMS.710 | sound art | sound art | Jacques Attali | Jacques Attali | music | music | musicology | musicology | post-modern | post-modern | recording | recording | ethnomusicology | ethnomusicology | ethnography | ethnography | soundscape | soundscape | voice | voice | audio | audio | sonic space | sonic space | science sound | science sound | cultural studies | cultural studies

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology (Contemporary History and Aesthetics) (MIT) 21M.380 Music and Technology (Contemporary History and Aesthetics) (MIT)

Description

Includes audio/video content: AV selected lectures, AV special element audio. This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concrète and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog syn Includes audio/video content: AV selected lectures, AV special element audio. This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concrète and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog syn

Subjects

audio | audio | music technology | music technology | sound recording | sound recording | sound reproduction | sound reproduction | contemporary music | contemporary music | experimental music | experimental music | electronic music | electronic music | synthesis | synthesis | synthesizers | synthesizers | music history | music history | music software | music software | analog recording | analog recording | digital recording | digital recording | digital audio | digital audio | music composition | music composition | computer music | computer music | Musique concr?te | Musique concr?te | rock music | rock music | rock and roll | rock and roll | hip hop | hip hop | circuit bending | circuit bending | phonograph | phonograph | radio | radio | noise music | noise music | recording studio | recording studio | sequencer | sequencer | sampling | sampling | sampler | sampler | sound art | sound art | electric guitar | electric guitar | turntablism | turntablism | scratching | scratching | electro-acoustic music | electro-acoustic music | music copyright | music copyright

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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6.551J Acoustics of Speech and Hearing (MIT)

Description

The Acoustics of Speech and Hearing is an H-Level graduate course that reviews the physical processes involved in the production, propagation and reception of human speech. Particular attention is paid to how the acoustics and mechanics of the speech and auditory system define what sounds we are capable of producing and what sounds we can sense. Areas of discussion include: the acoustic cues used in determining the direction of a sound source, the acoustic and mechanical mechanisms involved in speech production and the acoustic and mechanical mechanism used to transduce and analyze sounds in the ear.

Subjects

HST.714 | sound | speech communication | human anatomy | speech production | sound production | airflow | filtering | vocal tract | auditory physiology | acoustical waves | mechanical vibrations | cochlear structures | sound perception | spatial hearing | masking | auditory frequency selectivity | physical processes | sound propagation | human speech | acoustics | speech mechanics | auditory system | sound direction | ear | 6.551

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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B0079P0006

Description

A vet carries out an ultrasonographc scan of an obese golden larbrador whilst a nurse restrains it

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | vet | nurse | scan | scanning | ultrasoundscan

License

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B0079P0005

Description

A vet carries out an ultrasonographc scan of an obese golden larbrador whilst a nurse restrains it

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | vet | nurse | scan | scanning | ultrasoundscan

License

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B0079P0006

Description

A vet carries out an ultrasonographc scan of an obese golden larbrador whilst a nurse restrains it

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | vet | nurse | scan | scanning | ultrasoundscan

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0005

Description

A vet carries out an ultrasonographc scan of an obese golden larbrador whilst a nurse restrains it

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | vet | nurse | scan | scanning | ultrasoundscan

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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21M.065 Introduction to Musical Composition (MIT) 21M.065 Introduction to Musical Composition (MIT)

Description

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods. Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

Subjects

form | form | structure | structure | notation | notation | musical score | musical score | composer | composer | composing | composing | music history | music history | deep listening | deep listening | sound | sound | soundwalk | soundwalk | instrument building | instrument building | contemporary music | contemporary music | avant-garde music | avant-garde music | experimental music | experimental music | graphic score | graphic score | Musique Concrete | Musique Concrete | vocal music | vocal music

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.361 Composing with Computers I (Electronic Music Composition) (MIT) 21M.361 Composing with Computers I (Electronic Music Composition) (MIT)

Description

Includes audio/video content: AV special element audio. This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions. Includes audio/video content: AV special element audio. This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions.

Subjects

computer music | computer music | sound | sound | music | music | audio | audio | listening | listening | electronic music | electronic music | new music | new music | electronica | electronica | sound art | sound art | noise | noise | noise music | noise music | avant-garde | avant-garde | contemporary music | contemporary music | modern music | modern music | composition | composition | recording | recording | music production | music production | recording studio | recording studio | audio software | audio software | recording software | recording software | sampling | sampling | synthesis | synthesis | audio engineering | audio engineering | mixing | mixing | Radiohead | Radiohead

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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HST.723J Neural Coding and Perception of Sound (MIT) HST.723J Neural Coding and Perception of Sound (MIT)

Description

This course focuses on neural structures and mechanisms mediating the detection, localization and recognition of sounds. Discussions cover how acoustic signals are coded by auditory neurons, the impact of these codes on behavioral performance, and the circuitry and cellular mechanisms underlying signal transformations. Topics include temporal coding, neural maps and feature detectors, learning and plasticity, and feedback control. General principles are conveyed by theme discussions of auditory masking, sound localization, musical pitch, speech coding, and cochlear implants. This course focuses on neural structures and mechanisms mediating the detection, localization and recognition of sounds. Discussions cover how acoustic signals are coded by auditory neurons, the impact of these codes on behavioral performance, and the circuitry and cellular mechanisms underlying signal transformations. Topics include temporal coding, neural maps and feature detectors, learning and plasticity, and feedback control. General principles are conveyed by theme discussions of auditory masking, sound localization, musical pitch, speech coding, and cochlear implants.

Subjects

HST.723 | HST.723 | 9.285 | 9.285 | sound perception | sound perception | neural coding | neural coding | neural structures | neural structures | neural mechanisms | neural mechanisms | sound localization | sound localization | acoustic signals | acoustic signals | auditory neurons | auditory neurons | temporal coding | temporal coding | neural maps | neural maps | feature detectors | feature detectors | learning and plasticity | learning and plasticity | auditory masking | auditory masking | musical pitch | musical pitch | speech coding | speech coding | cochlear implants | cochlear implants | auditory system | auditory system | binaural interactions | binaural interactions | cochlear nucleus | cochlear nucleus | binaural hearing | binaural hearing | frequency selectivity | frequency selectivity | auditory cortex | auditory cortex | scene analysis | scene analysis | object formation | object formation

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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B0079P0010

Description

An ultrasound image of a normal liver

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0009

Description

An ultrasound image of a normal liver

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0008

Description

An ultrasound image of a normal liver The gall bladder can be seen as the discrete hypoechoic region

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | gallbladder

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0007

Description

An ultrasound image of a normal liver The gall bladder can be seen as the discrete hypoechoic region

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | gallbladder

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0010

Description

An ultrasound image of a normal liver

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0009

Description

An ultrasound image of a normal liver

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0008

Description

An ultrasound image of a normal liver The gall bladder can be seen as the discrete hypoechoic region

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | gallbladder

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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B0079P0007

Description

An ultrasound image of a normal liver The gall bladder can be seen as the discrete hypoechoic region

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound | normalliver | liverultrasound | gallbladder

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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X-1E Loaded in B-29 Mothership on Ramp X-1E Loaded in B-29 Mothership on Ramp

Description

Subjects

1955 | 1955 | nasa | nasa | boeing | boeing | aeronautics | aeronautics | b29 | b29 | xplane | xplane | soundbarrier | soundbarrier | naca | naca | speedofsound | speedofsound | x1e | x1e | flighttest | flighttest | bellaircraft | bellaircraft | boeingb29 | boeingb29 | nasadrydenflightresearchcenter | nasadrydenflightresearchcenter | experimentalflight | experimentalflight | bellx1e | bellx1e

License

No known copyright restrictions

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Mini project : soundscape for games consoles : document transcript

Description

This open educational resource was released through the Higher Education Academy Engineering Subject Centre Open Engineering Resources Pilot project. The project was funded by HEFCE and the JISC/HE Academy UKOER programme.

Subjects

audio editing techniques | engineering | multitrack | music technology | sound and audio technology | audio samples | music | sound | bsc | uniofhertsoer | engscoer | 2ele0077 | content management | school of electronic communications and electrical | stereo imaging | electronics | video games | multitrack sound sequence | engsc | audio | digital editing | ukoer | communications | editing | digital audio | computer game | university of hertfordshire | Engineering | H000

License

Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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21M.380 Music and Technology (Contemporary History and Aesthetics) (MIT)

Description

This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concrte and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog synthesizer, from the Moog modular to the Roland TR-808. The history of computer

Subjects

audio | music technology | sound recording | sound reproduction | contemporary music | experimental music | electronic music | synthesis | synthesizers | music history | music software | analog recording | digital recording | digital audio | music composition | computer music | Musique concr?te | rock music | rock and roll | hip hop | circuit bending | phonograph | radio | noise music | recording studio | sequencer | sampling | sampler | sound art | electric guitar | turntablism | scratching | electro-acoustic music | music copyright

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology: Sound Design (MIT)

Description

In this course, we will rebuild the everyday sounds of nature, machines, and animals from scratch and encapsulate them in dynamic sound objects which can be embedded into computer games, animations, movies, virtual environments, sound installations, and theatre productions. You will learn how to analyze and model sounds and resynthesize them with the open-source graphical programming environment Pure Data (Pd). Our work will be guided by Andy Farnell's book Designing Sound (MIT Press, 2010). No previous programming experience is required.

Subjects

audio design | synthesis | sound editing | audio editing | soundscape | soundtrack | computer game | video game | film

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21A.360J The Anthropology of Sound (MIT)

Description

This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invi

Subjects

21A.360 | STS.065 | CMS.710 | sound art | Jacques Attali | music | musicology | post-modern | recording | ethnomusicology | ethnography | soundscape | voice | audio | sonic space | science sound | cultural studies

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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B0079P0011

Description

An ultrasound image of a normal spleen

Subjects

svmsvet | dog | b0079 | dogs | canine | canines | ultrasound | ultrasonographic | image | normal | spleen | splenicultrasound | abdominalultrasound

License

http://creativecommons.org/licenses/by-nc-sa/2.0/

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