ISBN 978-976-96342-7-5
THE SOUND OF CULTURE IS A CULTURAL DISCOURSE Volume1
William Anderson Gittens Author, Dip., Com., Arts. B.A. Media Arts Specialists’ Cinematographer, Cultural Practitioner, Publisher
ISBN 978-976-96342-7-5
THE SOUND OF CULTURE
IS A CULTURAL DISCOURSE VOL.1 © Devgro Media Arts Services
!1
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Normative
Statement
The human influence combined with
the
pervasiveness
of
Cultural1 determinism2 creates The Sound of Culture.
1 Cultural determinism is the belief that the culture in which we are raised determines who we are at emotional and behavioral levels. It contrasts with genetic determinism, the theory that biologically inherited traits and the environmental influences that affect those traits dominate who we are. Yet another way of looking at the concept of cultural determinism is to contrast it with the idea of environmental determinism. The latter is the idea that the physical world- with all its constraints and potentially life-altering elements-is responsible for the make-up of each existing culture. Contrast this with the idea that we (humans) create our own situations through the power of thought, socialization, and all forms of information circulation. It is also used to describe the concept that culture determines economic and political arrangements. It is an idea which has recurred in many cultures over human history, from ancient civilizations through the present. https:// en.wikipedia.org/wiki/Cultural_determinism
2 https://en.wikipedia.org/wiki/Main_Page Cronon 1995
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The Sound of Culture can be
construed cliché,
as
even
a
a
theoretical
nuance
occupying
cyberculture and adding value to the
cultural global space. The
Sound
of
Culture
is
a
unique fingerprint;3 amalgamation of
visual,
auditory,
and
functional components that allows people see, hear, touch, or talk
3 https://researchers.mq.edu.au/en/organisations/department-of-media-musiccommunication-and-cultural-studies
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
to
as
they
computers
interact
(digital
with
devices) 4in
this post-globalization5 space. This
Theoretical
Cliché
behaves somewhat like sound. As
you
are
aware
sound
contains so many different waves and vibrations.6
4 https://www.igi-global.com/ 5 https://sonicfield.org/2018/04/defining-tradition-sound-culture-questioningimportance-authenticity/
6 https://www.dkfindout.com/us/science/sound
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Each vibration with their own
varying specificity; presumably metaphorically and philosophically
making
delicate
the
skin
of
the
eardrums
vibrate; what
is
equally
important
there cannot be no music without dance; likewise
there
without culture.
Page 5! of 462 !
is
no
sound
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
At the mentioned of The Sound of
Culture
presumably
evoke
memories in the minds of global citizens’ just like The Sound of Music.
In
context
The
Sound
of
Music is a 1965 American musical drama film produced and directed by
Robert
Julie
Wise,
Andrews
and
and
Page 6! of 462 !
starring
Christopher
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Plummer,
with
Richard
Haydn
and
Eleanor Parker. The film is an adaptation of the
1959
same
name,
Rodgers
stage
musical
composed
with
lyrics
by
of
the
Richard
by
Oscar
Hammerstein II7. As a student of film I have noticed that in this film just as there
is
Diegetic
7 https://en.wikipedia.org/wiki The_Sound_of_Music_(film)
Page 7! of 462 !
vs.
Non-
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Diegetic Sound
8
in The Sound of
Music likewise metaphorically in The Sound of Culture which is a cultural discourse
Diegetic
sound
is
any
sound
that the character or characters on screen can hear.
A case in
point the sound of one character talking
to
another
diegetic. 8 https://collegefilmandmediastudies.com/film-sound-and-music
Page 8! of 462 !
would
be
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Non-diegetic
sound
is
any
sound that the audience can hear but
the
cannot.
characters Any
background
on
screen
appearance
music
is
a
of
prime
example of non-diegetic sound. This clip from Edgar Wright’s Shaun of the Dead simultaneously depicts
both
diegetic
diegetic sound.
Page 9! of 462 !
and
non-
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
aforementioned
diegetic
and
and
is
how
are so many
explains
non-diegetic applied
since
sound there
ways to use sound
even metaphorically. For
example,
you
can
use
sound to help show where and when the film is set, draw attention to
important
things,
create
an
atmosphere or set a mood, depict
Page 10 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
a character, warn that something is about to happen. Consequently since The Sound of
Music
The
is
Sound
a
film
conversely
of
Culture
is
a
Music
is
Cultural Discourse. Just
as
The
Sound
characterized combination moving
of
story,
of
as a
the
rare
powerful
and
first
Page 11 ! of !462
rate
music,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
and
breathtaking
scenery
of
Sound
of
Salzburg9 Likewise, Culture
is
The
characterized
cultural
discourse
value
the
to
that
cultural
as
a
adds space
because it is a way of life which is performed on the world stage by global citizens. These are
theoretical
fusions
of
two
9 https://www.sound-of-music.com/
Page 12 ! of 462 !
clichés, constructs
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
sound
and
together
culture
they
are
intertwined inseparable
just as there is no music without dance likewise there is no sound without culture. In this context The Culture
behaves
like
Sound of a
double
entendre. It is a figure of speech because of
the
particular
way
it
is
verbalized since is devised to be
Page 13 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
understood in two ways, having a double meaning.
The Sound of Culture is given in
context,
whereas
culture
may
require more thought.10 Since this cliche is applied in this text to exploit puns; Therefore second
meaning
conveying and
the
different
10 "Longman Dictionary of Contemporary English online". Dictionary of Contemporary English. Longman. Archived from the original on 3 September 2014. Retrieved 29 August 2014.
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
interpretations primary
of
meaning
the
same
exploiting
ambiguity used in this context is introduce
deliberately
as
a
homophone. It is used interchangeably as a Double entendres11 because it is a
cultural
discourse
providing
some insight into any queries. The clichéd phrase The Sound of
Culture
behaves
11 https://en.wikipedia.org/wiki/Double_entendre
Page 15 ! of 462 !
like
Sound
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
since
is
always
everlasting;
changing;
it’s
hearing
people,
captured
via
It’s
nonstop
For
information
is
the
ear,
through
sound according to Christine Sun Kim12 Many things are dependent on sound,
like
Siri
on
the
phone,
voice commands that is why Music and
sound
are
culturally
dominant. 12 https://fellowsblog.ted.com/?source=post_page---
Page 16 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Music
and
sound
are
culturally dominant and therefore the
scope,
the
depth,
originality
of
this
and
the
theoretical
analysis of The Sound of Culture reveals
that
it
is
a
continuum
contributing significantly to the understanding
of
the
interpretation
Page 17 ! of 462 !
cultural
and
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
appropriation
of
The
Sound
of
Culture. The Sound of Culture13 does not make people but People make The Sound of Culture.
William Anderson Gittens Author, Dip., Com., Arts. B.A. Media Arts Specialists’ Cinematographer, Cultural The Sound of
Practitioner, Publisher
Culture is A Cultural Discourse
Vol.1ISBN 978-976-96342-7-5
13 https://www.goodreads.com/quotes/tag/culture Chimamanda Ngozi Adichie
Page 18 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Copyright The
Sound
of
Culture
Is
A
Cultural Discourse Volume1 William Anderson Gittens Author,
Dip.,
Com.,
Arts.
Media
Arts
Specialists’
Cinematographer,
B.A.
Cultural
Practitioner, Publisher First Edition © 2019 All rights reserved.
Page 19 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
No part of this publication may be
reproduced,
stored
in
retrieval system, or transmitted in
any
form
or
by
any
means,
electronic,
mechanical,
photocopying,
recording
otherwise,
without
the
or
prior
written permission of William
Anderson
copyright owner.
Page 20 ! of 462 !
Gittens
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Typesetting,
Layout
Design,
Illustrations, and Photography by William Anderson Gittens Edited
by
William
Anderson
Gittens ISBN 978-976-96342-7-5 Published by © Devgro Media Arts Services Email
address
wgittens11@gmail.com
Page 21 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
account
William
Gittens
@lisalaron https://www.facebook.com/ wgittens2 https://tunein.com/ Podcast
address
http://
www.buzzsprout.com/443002 Podcast
address
http://
www.buzzsprout.com/443002
Page 22 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.Linkededin.com/in/ william-anderson-gittens-authormedia-artsspecialist-b1886b26 https://www.youtube.com/channel/ UCxYWov8tzbe5rHzik528dAw
Page 23 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Recognitions
Special thanks to the Creator for his guidance and choosing me as a conduit
to
express
the
creative
gifts he has given me and my late parents Charles and Ira Gittens. Thanks to those who assisted me along
this
journey
namely
my
Beloved wife Magnola Gittens, my Brothers-
Shurland,
Charles,
Ricardo,
Arnott,
Stephen,
Page 24 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Sisters-
Emerald,
Marcella,
Cheryl, Cousins-Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, Jackie Clarke, UnclesClifford,
Leonard
Bruce,
Collin
Laron
and
Mayers,
Rock.
Lisa.
My
David
children
Well-wishers-
Mr.and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr.& Mrs. Gordon Alleyne, Mr. Juan Arroyo, Mr. and Mrs.
David
Lavine,
Page 25 ! of 462 !
Mrs.
Ellen
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Gordon, late
Dr.Nicholas
Dr.Joseph
Mayers,
Mr.
Rev.
Shoemaker,
Ms.
Rev.Carl Mrs.
and
Gloria
Harewood,
Drew,
and
Millington,
Gordon,
Merline
Mrs.
Trevor
Mrs.
Donavon
Geraldine
Davis,
&
Rev
Angie
Rock,
Mr.
the
and
Dixon,
Rev.Pauline Mrs.
Stewart
Russell, Mrs. Shirley Smith, Mr. and Mrs.
Mrs.
Felton
David
Ince,
Brathwaite,
Page 26 ! of 462 !
Mr.
and
Mr.and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Mrs.
Ryan
Neilo
Miller
Mascoll,
Mr.and
Mr.
and
Mrs.
Mrs.
Robert Quintyne
Special mentioned is given to Dr. Joseph Drew was my advisor, mentor,
and
teacher
during
my
academic tenure as a Media Arts Major
at
College
Jersey
now
New
City
State
Jersey
City
University (NJCU).
Page 27 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
focus
of
our
parting
conversation was about me honing my
writing
graduated
skills
after
I
had
and
returned
to
Barbados. Between the period 1995 to 2016, I have discovered that the
more
leisure seemed
that
I
pursuit to
be
practice
this
profession
infectious
other elements.
Page 28 ! of 462 !
it
among
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The being
other
elements
passionate
and
combined
together
Creator’s
help,
productive that
I
writer
have
to
now
such
as
prolific with
the
made
me
a
the
extent
published
108books. In light of the aforesaid, I have decided th
to
dedicate
publication
“A
Page 29 ! of 462 !
my
66
Tribute
To
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Culture” Vol 1 in memory of Dr. Joseph Drew . All of the above contributed to my
academic
developmental
journey. William Anderson Gittens Author,
Dip.,
Com.,
Cinematographer, Cultural
Arts.
B.A.
Media
Arts
Practitioner, Publisher
Page 30 ! of 462 !
Specialists’
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
TABLE OF CONTENTS
Normative Statement
2
Copyright
19
Recognitions
24
Table of Contents
31
Foreword
34
Overview
39
Culture Defined
57
History
66
Abstract
103
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chapter 1 Brief History of Sound in Movies
119
Chapter 2 Sound Like
148
Chapter
3
How
Sound
Affect
The
Taste Of Our Food
178
Chapter 4 Music Sound
196
Chapter 5 Sound Change Refers To Diachronic Changes
294
Chapter 6 Cultural Change
312
Chapter 7 Cultural Story
321
Chapter 8 Films
326
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chapter 9 Exploiting Puns Chapter
10
Personal
347
Reflections 357
Chapter 11 Conclusion Reflections 360 Chapter 12 Conclusion
377
Works Cited
396
About The Author
411
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Foreword
Sound
Culture14
is
a
music
festival, initiated by a group of artists
and
arts
organizers
in
Sydney. Its goal is to advocate and develop
culture
of
sound
art
emphasizing the varied and unique qualities taking
of
place
sonic
activity
the
pan-Pacific
in
geographical zone. 14 https://en.wikipedia.org/wiki/SoundCulture
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Major festivals were held in Sydney (1991), Tokyo (1993), San Francisco
(1996),
(1999),
Perth
the
and
theme
Impossible
Auckland
(2004).
Invisible Objects,
Under
Cities/
the
first
SoundCulture festival was held in Sydney in October, 1991.
Page 35 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
SoundCulture15 activities grew
out
of
the
substantial
complex
history
of
sound
sculpture,
and
experimental
installation,
performance and radio arts.
They
also
developments and
work in
emergent
with
sonic
practice
technologies.
SoundCulture
also
proactive
in
role
current
15 https://en.wikipedia.org/wiki/SoundCulture
Page 36 ! of 462 !
takes
a
developing
a
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
critical
discourse
in
the
sonic
arts in conferences, seminars and publications. Local focus
on
SoundCulture the
groups
development
of
a
sound culture in their region. They
also
integrate
activity
at
level
networking
by
an
their
international
SoundCulture groups.16
16 SoundCulture Archived 2008-08-20 at the Wayback Machine
Page 37 ! of 462 !
with
other
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
continuity
SoundCulture been
events
maintained
International which
has
is
Steering
made
up
of
to
date
by
an
Committee
of
artists,
critics, and curators. This group is
now
developing
towards
a
networked structure. William Anderson Gittens Author,
Dip.,
Com.,
Cinematographer, Cultural
Arts.
B.A.
Media
Arts
Practitioner, Publisher
Page 38 ! of 462 !
Specialists’
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Overview
Expressing
one
c u l t u r e 17
and
change
hard.
is
self
about
organizational Organizational
dynamics are covert and seemingly invisible.
One
help
clients
truth
our and
figurative
tool 18 we
unlock
use
to
uncover
the
change
is
language,
such
as
metaphors, analogies and similes.
17 https://www.entrepreneur.com/author/hailey-brewer-and-mollie-west-duffy 18 https://www.entrepreneur.com/
Page 39 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
Sound
cultural that
of
Culture
contemporary
analyses
cultures
in
traditions living
in
sound
is
a
discourse culture
or
general,
their
and
heritage
while
the
age
post-
of
globalization19 is also difficult too.
19 https://sonicfield.org/2018/04/defining-tradition-sound-culture-questioningimportance-authenticity/Maria Papadomanolaki
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The fact that every culture has
in one way or the other adopted different
aspects
of
cultures,
and
slightly
by
other
transforming them, made them part of
their
own
heritage
is
very
interesting. It
is
reported
by
Maria
Papadomanolaki that Japan20 is one of the best examples for such a
20 https://sonicfield.org/2018/04/defining-tradition-sound-culture-questioningimportance-authenticity/Maria Papadomanolaki
Page 41 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
phenomenon,
since
this
country
already has ages worth of history of
adopting
cultural
elements
from
other
Asian
countries
and
the
west,
transforming
foreign
ideas
and
making
them
part
of
their
own
unique
heritage.
For
example
The
Sound
of
Culture
which is a cultural discourse
Page 42 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
Sound
cliché,
a
even
a
of
Culture
theoretical nuance
is
a
construct
occupying
cyberculture adding value to the cultural global space. The sound of culture creates a unique
f i n g e r p r i n t 21
and
the
amalgamation of visual, auditory, and
functional
allows
people
components to
see,
that hear,
21 https://researchers.mq.edu.au/en/organisations/department-of-media-musiccommunication-and-cultural-studies
Page 43 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
touch,
or
talk
to
as
they
interact with computers (digital d e v i c e s ) 22 i n
this
post-
globalization23 space. This theoretical cliché behaves somewhat
like
sound
because
it
contains so many different waves and vibrations24, each with their own
varying
specificity
which
22 https://www.igi-global.com/ 23 https://sonicfield.org/2018/04/defining-tradition-sound-culture-questioningimportance-authenticity/
24 https://www.dkfindout.com/us/science/sound
Page 44 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
make
the
delicate
skin
of
the
eardrums vibrate there cannot be no
music
dance
likewise
no
sound
without
thinking
about
The
there
without
is
culture.
Just of
Culture
presumably
Sound
evokes
memories in the minds of global citizens’ just like The Sound of Music.
Page 45 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The Sound of Music is a 1965
American produced
musical and
drama
directed
by
film Robert
Wise, and starring Julie Andrews and
Christopher
Plummer,
with
Richard Haydn and Eleanor Parker. The
film
is
the
1959
same
name,
Rodgers
an
stage
adaptation
musical
composed
with
lyrics
Hammerstein II25.
by by
of
of the
Richard Oscar
As a student of
25 https://en.wikipedia.org/wiki The_Sound_of_Music_(film)
Page 46 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
film I have noticed that in this film
just
as
there
is
vs. Non-Diegetic Sound Sound
of
Music
Sound
of
Culture
Diegetic 26
likewise
in The in
The
which
is
a
is
sound
cultural discourse
Diegetic
sound
any
that the character or characters on screen can hear.
A case in
point the sound of one character 26 https://collegefilmandmediastudies.com/film-sound-and-music
Page 47 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
talking
to
another
would
be
diegetic. Non-diegetic
sound
is
any
sound that the audience can hear but
the
cannot.
characters Any
on
screen
appearance
background
music
a
prime
example
non-diegetic
sound.
The
of
extract
from
is
of
Edgar
Wright’s
Shaun of the Dead simultaneously
Page 48 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
depicts
both
diegetic
and
non-
diegetic sound. The
aforementioned
diegetic
and
and
is
how
are so many
explains
non-diegetic applied
since
sound there
ways to use sound
especially metaphorically. In this setting The Sound of Culture behaves like sound since song is use to help show where and when culture is staged, draw
Page 49 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
attention
to
important
create
an
atmosphere
mood,
depict
a
or
things, set
character,
a
warn
that something is about to happen likewise the Sound of Culture. Consequently since The Sound of
Music
Sound
of
is
a
film
Culture
is
while
The
a
of
way
life. It is the rare combination of a powerful and moving story, first
Page 50 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
rate
music,
and
breathtaking
scenery of Salzburg27 the same can be said about The Sound of Culture it is a lived experienced and a cultural discourse performed on the world stage by global citizens. This theoretical cliché, is a fusion
of
two
constructs
sound
and culture intertwined together they
are
inseparable
27 https://www.sound-of-music.com/
Page 51 ! of 462 !
just
as
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
there is no music without dance likewise
there
is
no
sound
without culture. The
Sound
of
Culture
also
behaves like a double entendre (/ ɒ ̃ ˈtɒ ̃ d(rə)/
it
is
a
figure
of
speech because of the particular way it is worded since is devised to
be
understood
in
two
having a double meaning.
Page 52 ! of 462 !
ways,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The Sound of Culture is given
in
context,
whereas
culture
may
require more thought28 since this cliche
is
exploiting
applied puns
in
hence
this
text
conveying
the second meaning and different interpretations
of
the
same
primary
meaning
exploiting
ambiguity
used
this
in
context
28 "Longman Dictionary of Contemporary English online". Dictionary of Contemporary English. Longman. Archived from the original on 3 September 2014. Retrieved 29 August 2014.
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which
is
introduce
deliberately
as a homophone. It is used interchangeably as a Double entendres29 because it is a cultural discourse which provides some insight into any queries. The clichéd phrase The Sound of Culture like
metaphorically
Sound
since
is
behaves always
changing; It’s everlasting; it’s nonstop
For
hearing
29 https://en.wikipedia.org/wiki/Double_entendre
Page 54 ! of 462 !
people,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
information ear,
is
through
captured
sound
via
the
according
to
Christine Sun Kim30Many things are dependent on sound, like Siri on the phone, voice commands that is why
Music
and
sound
are
sound
are
culturally dominant. Music
and
culturally dominant and therefore the
scope,
the
depth,
originality
of
this
30 https://fellowsblog.ted.com/?source=post_page---
Page 55 ! of 462 !
and
the
theoretical
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
analysis of The Sound of Culture contributed significantly to the understanding
of
the
interpretation appropriation
of
Culture.
Sound
The
cultural
and
The
the
Sound
of
of
Culture31
does not make people but People make The Sound of Culture. William Anderson Gittens Author,
Dip.,
Com.,
Cinematographer, Cultural
Arts.
B.A.
Media
Arts
Practitioner, Publisher
31 https://www.goodreads.com/quotes/tag/culture Chimamanda Ngozi Adichie
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Specialists’
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Culture Defined Clifford present)
is
Geertz
best
(1926-
known
for
his
ethnographic studies of Javanese culture
(Java
is
an
Indonesian
island south of Borneo) and for his
writings
about
the
interpretation of culture.
The of
most
Geertz's
influential work
has
Page 57 ! of 462 !
aspect
been
his
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
emphasis on the importance of the symbolic -- of systems of meaning --
as
it
relates
to
culture,
cultural change, and the study of culture; notice this emphasis as you
read
the
summaries
and
Geertz
both
excerpts below. Bodley
and
can
compared here with Matthew Arnold for for perspective on the great transition which has taken place
Page 58 ! of 462 !
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regarding
the
concept
"culture"
in Western thought over the past century; Raymond
Williams's
perspective might be taken as a middle ground in this transition. In
attempting
to
lay
out
the
various meanings attached to the word "culture," Clifford
Geertz
refers
important
anthropological
Page 59 ! of 462 !
to
the
work,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Clyde Kluckhohn's Mirror for Man, in
which
the
following
are
suggested:"the
meanings
total
way
of
life of a people” "the social legacy the individual acquires from his group""a way of thinking,
feeling,
and
believing""an
abstraction
from
behavior"a theory on the part of the anthropologist about the way
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in
which
a
group
of
people
in
fact behave a "storehouse of pooled learning” "a
set
of
orientations
standardized to
recurrent
problems” "learned behavior”a mechanism for the
normative
regulation
behaviour
Page 61 ! of 462 !
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
"a
set
of
adjusting
techniques
both
to
the
for
external
environment and to other men” "The
concept
espouse.
.
.
of is
culture
I
essentially
a
semiotic one. Believing,
with
Max
Weber,
man
is
an
animal
webs
of
significance
that
suspended he
in
himself
has spun, I take culture to be those webs, and the analysis of
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it
to
be
therefore
not
an
experimental science in search of law but an interpretative one in search
of
explication
meaning. I
am
after.
It .
is .
.
(pp. 4-5)" Geertz of
an
compares
the
anthropologist
culture
to
those
of
methods
analyzing a
literary
critic analyzing a text: "sorting out
the
structures
Page 63 ! of 462 !
of
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signification. determining and
their
import.
ethnography
.
and
social
ground
.
Doing
.
is
.
like
.
trying
to
read (in the sense of 'construct a
reading
of')
a
manuscript. . . ." Once
human
behavior
is
seen
as . . . symbolic action--action which, like phonation in speech, pigment
in
painting,
Page 64 ! of 462 !
line
in
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writing,
or
sonance
signifies--the whether
in
question
culture
is
music, as
to
patterned
conduct or a frame of mind, or even
the
two
somehow
mixed
together, loses sense. The thing to ask [of actions] is what their import is" (pp. 9-10).
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Historical Development Cultural
practice32
generally
refers to the manifestation of a culture especially
or
sub-culture,
in
traditional
regard and
to
the
customary
practices of a particular ethnic or other cultural group.
32 https://en.wikipedia.org/wiki/Cultural_practice
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In
term
the
can
broadest
sense,
apply
any
manifesting
any
to
aspect
this
person of
any
culture at any time. However, in practical to
the
usage
it
often
traditional
refers
practices
developed within specific ethnic cultures,
especially
those
aspects of culture that have been practiced since ancient times.
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The
term
importance
due
controversy
is
gaining
to
the
over
cultural
practice",
protected
in
for
in
increased
"rights
of
which
are
many
jurisdictions
indigenous
p e o p l e s 33 a n d
sometimes ethnic minorities.
It is also a major component of the field of cultural studies, and
is
a
primary
33 "Cultural Practices in Conflict with Canadian Law". nizkor.org.
Page 68 ! of 462 !
focus
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
international
works
such
as
the
United Nations declaration of the rights of indigenous Peoples.34 Cultural subject
practice
of
is
also
discussion
a in
questions of cultural survival.35 If
an
ethnic
group
retains
its
formal ethnic identity but loses its
core
cultural
the
knowledge,
practices
or
resources,
or
34 "United Nations Declaration on the Rights of Indigenous Peoples" (PDF). Archived from the original (PDF) on 2007-10-11.
35 "oneFish Community Knowledge Directory". www.onefish.org. 27 September 2011. Archived from the original on 2011-09-27
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ability
to
continue
them,
questions arise as to whether the culture
is
able
to
actually
survive at all.
The
evolution
of
cultures
traditional
subject legal,
of
much
scholarly,
is
a
discussion
in
and
community
forums.36
36 "Earthdance: Chapter 20 - The Indigenous Way". Archived from the original on 2007-09-05. Retrieved 2007-09-08.
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It is generally accepted that
all cultures are to some degree in
a
continual
state
of
sociocultural evolution. However, major
questions
legitimacy cultural when
of
surround newly
expressions,
these
are
the
evolved especially
influenced
by
modernization or by the influence of other cultures. Also, there is significant
debate
Page 71 ! of 462 !
surrounding
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the
source
of
evolution:
for
example, an indigenous community may
accept
the
use
of
store-
bought materials in the creation of
traditional
arts,
but
may
reject requirements to apply for a
permit
for
certain
gathering
purposes; the central difference being
that
cultural
one
is
evolution,
Page 72 ! of 462 !
an
internal
while
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
other the
is
externally
society
or
legal
driven37 body
by
that
surrounds the culture. International bodies such as the
United
Forum
on
Nations
Permanent
Indigenous
Issues
continually work on these issues, which
are
forefront
increasingly of
at
the
globalization
questions.38 37 "Earthdance: Chapter 20 - The Indigenous Way". Archived from the original on 2007-09-05. Retrieved 2007-09-08.
38 Robertson, Roland (1 January 2003). Roland Robertson; Kathleen E. White (eds.). Globalization: Culture and identity. Taylor & Francis. ISBN 9780415236911 – via Google Books.
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Under
the
theme
Cities/Impossible
Invisible
Objects,
the
first SoundCulture39 festival was held in Sydney in October, 1991. Composed
of
performances,
exhibitions, site-specific
public art works, radio projects, and
symposia,
featured
sixty
the
festival
representatives
from Japan, New Zealand, and the United
States.
Events
39 https://en.wikipedia.org/wiki/SoundCulture
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included
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
installations
by
Paul
DeMarinis
(USA), Minoru Sato (Japan) Nigel Helyer by
(Australia),
Anna
Sabiel
performances
(Australia),
Rodney Berry (Australia), a sonic taxi ride through Sydney, and a piece
for
ship
horns
in
Sydney
Harbor.
The
second
SoundCulture
Japan
festival, '93,
Page 75 ! of 462 !
held
in
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Tokyo
in
November,
took
place
at
1993.
Events
several
sites
including Theatre X, Kiryu Yurinkan,
the
Kawasaki
City
Museum,
Art Forum Yanaka, and the Tokyo Bunka Kakikan. It included works by
Mamoru
Douglas
Kahn
Fujieda and
Frances
Dyson
Chris
Mann
(USA/Australia), (Australia),
(Japan),
Nigel
Page 76 ! of 462 !
Helyer
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(Australia) Phil Dadson (NZ), and Mineko Grimmer (Japan/USA).
SoundCulture
96
was
held
in
April, 1996 in the San Francisco Bay area. Altogether the festival involved
32
arts
organizations
presenting
events
comprising
17
exhibitions,
10
panels,
55
performances
and
and
other events.
Page 77 ! of 462 !
at
33
sites
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The
festival
featured
the
work of 228 artists from around the Pacific Region. SoundCulture 96 was easily the largest sound art
festival
ever
held
in
the
United States.
The
festival
representation differing practice:
of
a
areas
sound
included number of
sound
sculpture
Page 78 ! of 462 !
of
and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
installation,
radio
telephonic
performance,
works,
and
acoustic ecology, noise, cultural theory
in
relation
to
sound,
appropriation, high- and low-tech activities,
educational
events
for
homemade
sound
kids,
instruments,
sound
works
for
public space, and sound for film. Read a review here 40
40 SoundCulture Archived 2008-08-20 at the Wayback Machine
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SoundCulture
March,
1999
in
99,
held
in
Auckland,
New
Zealand,
expanded
on
territory
covered
previous
in
the
events by including the work of Maori,
Samoan,
and
Indonesian
artists. It
was
curated
to
emphasize
the culture in SoundCulture - the distinct
sound
practices
and
traditions,
environments
Page 80 ! of 462 !
that
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
feed
into
practice
contemporary
and
in
sound
doing
so
showcased the work of a number of artists
from
New
Zealand
and
beyond.
SoundCulture
(in
conjunction
with Tura New Music) curated the Sonic the
Differences
Biennale
Perth
in
of
component
Electronic
2004
Page 81 ! of 462 !
and
of
Arts the
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SoundCulture
AudioLab
at
the
Bundanon Trust 2008.
The organisation has recently re-modelled, nodal
and
model,
now
embraces
allowing
a
smaller
regional groups to form a network of SoundCulture groups.41
How
music
caused
the
rise
and
fall
of
great
cultures
in
41 SoundCulture Constitution
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antiquity—from
ancient
India
to
the Roman Empire. If
there
were
ever
anything
like a magic potion that could be poured into man to bring him to a higher
plane,
then
this
magic
potion would be made of sounds. Sound
can
make
glass
shatter,
drive men insane and bring Heaven closer to Earth.
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In
this
age,
where
we
are
awash in music, where music has become amusement available at the touch
of
a
button,
we
have
forgotten the creative force that is inherent in sound—that entire cultures wrong
were
usage
destroyed of
by
the
quarter-
and
third-tones42 and that our present culture threatens to choke on the materiality of the half-tone. 42 "Cultural Practices in Conflict with Canadian Law". nizkor.org.
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Krishna plays the sound vibration Om on his flute43.
Whoever hears this sound will acquire complete Vedic knowledge. The
music
of
ancient
India
was
the basis of this culture’s high spiritual knowledge.
In the first half of the 20th century, the veils to the world 43 https://www.facts-are-facts.com/
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of
inspiration
were
lifted
and
one of the master beings working for
the
development
of
mankind
through
music
communicated
through
his
disciple,
Nelsa
Chaplin,
what
momentum
great,
truly inspired composers such as Bach,
Beethoven,
Wagner,
or
Straus should bring to Earth and how
music
influences
cultures.
Page 86 ! of 462 !
great
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2 The name of this Mahatma is Koot Hoomi Lal Singh, or—as we’re used to seeing in the West—Master Kuthumi.
The
Greek
philosopher
Plato
wrote that a musical education is a
more
influential
instrument
than any other, since rhythm and harmony
find
their
Page 87 ! of 462 !
way
to
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
inner
places
of
the
soul,
take
them powerfully in control, lend them grace—and cause the soul of he
who
is
properly
educated
to
become lovely.
The importance Plato ascribed to the effects of music can be seen
in
the
following
statement
from his work The Republic: “For the introduction of a new kind of
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music
must
imperilling
be
the
shunned
whole
as
state;
since styles of music are never disturbed most
without
affecting
important
the
political
institutions.” Aristotle
also
agreed:
“…
Emotions of any kind are produced by
melody
and
rhythm;
therefore
by music a man becomes accustomed to
feeling
the
right
Page 89 ! of 462 !
emotions;
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
music has thus the power to form character,
and
various
kinds
of
music44Monday, July 22, 19 based on
the
various
modes
may
be
distinguished by their effects on character—one,
for
working
direction
of
another
of
in
the
melancholy, effeminacy, abandonment,
one
example,
encouraging
another
44 https://www.facts-are-facts.com/
Page 90 ! of 462 !
self-
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control, another enthusiasm, and so on through the series.” Different
instruments
also
have different effects: drums and brass
instruments,
primarily body, flute,
affect
reed
for
example,
the
physical
instruments
clarinet,
feelings,
string
(e.g.
etc.)
the
instruments
(e.g. violins, guitars, etc.) the mental-emotional,
and
Page 91 ! of 462 !
harp
and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
organ
the
spiritual-emotional
level in man. So music influences our feelings and—as, for example, in
the
case
of
Bach—also
our
thoughts.
And already is
also
what
every
person
individually true
for
has
experienced the
masses:
music can either lead peoples and civilizations
to
new
Page 92 ! of 462 !
heights
or
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
drag them down into the vortex of collapse.
Tones
create
patterns
that
ether,
which
vibrational
move
through
the
then
group
together
affect
themselves
and
receptive
soul-bodies—and
since the beginning of time.
Page 93 ! of 462 !
this
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It’s true that music used to
be a more exclusive subject than in today’s high-tech world—that a Handel or Chopin didn’t find his way to the masses as quickly as Guns’n’Roses Stones
do
or
the
today.
Rolling
But
those
circles responsible for the fates of entire peoples—kings, princes, popes—certainly
did
have
access
to the compositions of the time
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through and
their
folk
influenced
court
music the
musicians,
certainly
souls
of
the
these
people
“common” people.
And
wherever
didn’t travel very much—in China, for
example—this
manifested
inflexibility
itself
as
attachment to old traditions.
Page 95 ! of 462 !
an
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
But
where
and
whenever
the
fanfare of a new kind of music resounded, it was followed by an improvement
in
ethics,
wherever
and
politics a
and
music
began to decline, it carried its culture and civilization with it into the chasm. So where are we today?
Page 96 ! of 462 !
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Ancient
India:
Transfiguration
Through
the
Quarter-Tone When
the
mankind) fifth
Manu
(the
formed
the
so-called
(to
which
we
belong)
in
root
race
European-descended India
to
counteract
leader
the
of
black
magic that pulled the Atlanteans of
the
fourth
root
race
into
ruin, he forbade the playing of
Page 97 ! of 462 !
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the
old
Atlantean
music,
the
effects of which had proven to be devastating, and he introduced a new scale and the science of the mantras so that the new sub-races could
learn
to
become
receptive
to higher vibrations.
Indian mantras
priests
on
centuries;
over
passed the
Indian
Page 98 ! of 462 !
these
following music
was
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
exclusively
associated
with
religious traditions and was only intoned at certain times of day.
Music
in
ancient
India
was
not developed as an art form in itself,
but
spiritual
as
a
means
perfection
meditative contemplation.
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to and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Of course, this kind of music
influenced
the
creation
of
the
sublime ancient Indian writings. The
powerful
spirituality
called forth by the quarter-tone was so subtle that it exerted a sublimating power on the mind and helped
the
Indians
to
acquire
sublime, spiritual knowledge. The people certainly tried to give expression to their feelings
Page 100 ! of 462 !
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in song, but the means available were extremely limited.
Ultimately,
the
sublime
spirituality of Indian music led to
the
Indian
people
neglecting
certain qualities that are needed for daily life—the Indians as a race
became
one-sided,
passive,
languorous, pensive, and too much occupied
with
spiritual
Page 101 ! of 462 !
things.
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So
out
of
spiritual
transfiguration there grew in the Indian
people
a
kind
of
incompetency for life—a fate they might had
have
been
allowed
and
spared
if
they
encouraged
new
forms of musical expression.45 William Anderson Gittens Author,
Dip.,
Cinematographer
Com.,
Arts.
B.A.
Media
Arts
Cultural Practitioner, Publisher
45 https://www.facts-are-facts.com/
Page 102 ! of 462 !
Specialists’
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Abstract Sound46
is
a
caused
when
making
particles
pressure
something bump
wave
vibrates, into
each
vibrate
back
other and then apart. The
particles
and forth in the direction that the wave travels but do not get carried along with the wave.
46 https://www.sciencelearn.org.nz/
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When
you
clap
your
hands 47,
you force air particles together and
then
ripples
apart.
out
and
This
away
effect
from
your
hands as a small group of sound waves.
The hands
particles are
pushed
close
to
your
outwards
and
bump into neighbouring particles, 47 https://www.sciencelearn.org.nz/
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and these then move and bump into more particles.
The effect is very much like dropping a stone into a pool of water
and
causing
pattern
(sound
waves)
a
ripple extending
outwards from the original source (your clapping hands). Similar
to
water
ripples,
pressure waves move outwards from
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the
sound
source.
in
particle
These
spacing
changes
are
also
increases
when
changes in pressure. Pressure particles
are
squeezed
together
and reduces when they move apart. It is these changes in pressure that
can
be
detected
such
as
the
human
sensed as sound.
Page 106 ! of 462 !
by
ear
organs
and
are
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
We
we
describe
hear
terms
using and
the
sounds
several
measure
that
different them
in
different ways. Volume Volume (also called loudness) relates
to
the
maximum
produced
as
particles
squeezed
together
as
they
are
made
vibrate.
This
is
also
to
related
to
the
maximum
Page 107 ! of 462 !
pressure are
distance
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
particles
are
moved
from
their
normal position as they vibrate, much
like
how
tall
the
ripples
are in the pool mentioned before. When you show sound waves on a
graph,
height
of
the
amplitude
the
waves
is
from
the
their
middle position and reflects how loud the waves are.
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Loudness of sound is measured
in
decibels
(dB).
This
is
actually a measure of intensity, which relates to how much energy the
pressure
wave
has.
Decibels
are a relative measurement. They relate
the
pressure
wave
intensity to
a
of
a
normal
or
standard pressure. For the human ear in air, the quietest
noises
we
Page 109 ! of 462 !
hear
are
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
around
10dB
whereas
sounds
of
130dB are considered painful.
Sound pitch.
has
both
volume
and
Volume
is
seen
as
an
amplitude
of
the
increase
in
sound wave. Pitch is seen as a change
in
the
frequency
of
the
sound wave. Water is much more dense than air, so the standard pressure is
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different.
This
means
that
cannot
directly
convert
levels
from
to
air
you
decibel
water.
(To
convert from a decibel reading in air
to
a
decibel
reading
in
water, you should add 61.5dB.) Pitch Pitch frequency,
relates or
how
many
to
the
times
a
second the particles vibrate. The distance between one wave and the
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next
gives
the
wavelength.
For
sounds all travelling at the same speed,
high-frequency
pitched)
sounds
have
(high-
waves
very
close together.
Low-frequency greater
distance
sounds
have
between
a
each
wave. An extreme example is the low-pitch calls made by humpback whales, which can have up to 100
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metres between the pressure peaks of their sound waves. Frequency
is
measured
in
hertz (Hz). For sound, this means the number of pressure waves per second
that
would
move
past
a
fixed point. It is also the same as the number of vibrations per second
the
particles
are
as they transmit the sound.
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making
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A sound of 10Hz means that 10
waves would pass a fixed point in 1
second.
(Sound
travels
at
a
speed of 343 metres per second in air or 1,484 metres per second in water.) Humans can normally hear sounds between 20Hz and 20,000Hz (20kHz). Noise Noise term.
It
is
a
can
very
subjective
refer
Page 114 ! of !462
to
any
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
unwanted
sound
but
is
more
correctly used to describe sound that isn’t rhythmic or pure. When the sound waves form a single
sine-shaped
wave
on
a
graph,
we
sound
as
a
hear
the
pure note. Tuning forks produce a pure
sound,
one
note
(a
single
frequency) and a very smooth line on a graph. When we combine pure notes,
we
can
create
Page 115 ! of !462
harmonics.
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Harmonics musical
are
the
basis
instruments
of
and
all
result
from overlaying pure notes. Noise is produced48 when the notes aren’t pure. The trace on the graph is bumpy and random. Our
ears
detect
this
as
a
less pleasant sensation and often try to screen it out. In terms of listening
under
water,
what
we
mainly hear is noise – a jumbled 48 https://www.sciencelearn.org.nz/
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mess of sounds with no repeating pattern or clear pure notes. William Anderson Gittens Author, Cultural
Dip.,
Com.,
Arts.
B.A.
Media
Arts
Specialists’
Practitioner, Publisher
Page 117 ! of !462
Cinematographer,
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Chapter
1
A
Brief
History
of
Sound in Movies We all know that49 first there was
silent
film
and
then
was
sound.
But
that's
there
not
the
whole story. Before films talked they still made themselves heard through
intertitles
accompaniment.
49 https://www.infoplease.com/
Page 118 ! of !462
and
musical
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
And after the introduction of
the microphone, there were still questions
about
how
to
use
technology.
Here
is
breakdown
the
evolution
of
a
the
brief of
sound.
Though
intertitles
tended
toward the brief and explanatory, the
writer
choose
to
or be
director lush
Page 119 ! of !462
or
could
poetic.
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Sometimes
the
poetry
positively
purple,
as
in
was the
following intertitles from Erich von Stroheim's The Wedding March (1928): Then, nature mourned— The Birds were hushed— It rained, rained, and rained …. And Oh Love—Without the—Marriage is a sacrilege and a mockery.
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Though
Edison50
film,
he
this
visual
did
always
phonograph
not
invent
conceived
medium
would
mesh
that
and
his
to
make
sound film, and was busy trying to invent sound film almost from the
birth
1885—more
of
cinema—from
than
a
third
about of
a
century before sound film became commercially feasible.
50 https://www.infoplease.com/
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Inventors
and
needed
to
overcome
problems
before
accepted.
entrepreneurs
sound
First,
several could
silent
be
film
audiences seemed perfectly happy with
silent
because
the
movies, movies
perhaps
were
never
completely silent, almost always accompanied
by
kind:
a
from
music
of
some
multipieced
pit
orchestra for big openings, to a
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single piano, or even a guitar if no one in a small town could play the larger instrument.
Early
on,
when
film
prints
traveled from small town to small town
in
the
they
were
American
often
heartland,
narrated
by
a
live raconteur, who would explain the
action
audiences.
on-screen
to
"Intertitles"—those
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cards between moments of action— contained explanations of action, or important moments of dialogue, or even bits of poetry to set the mood.
Also, film
by
the
writing,
photography, reached very
1920s,
and
silent
acting, music
had
an
aesthetic
pinnacle:
subtle
emotional
and
Page 124 ! of 462 !
plot
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
nuances could be conveyed without the
use
of
any
accompanying
dialogue. In fact, as the era of sound
film
filmmakers
drew were
to
a
close,
able
to
convey
their stories with a bare minimum of intertitles.
Inventing Sound Second Take The Jazz Singer (1927)51 not
the
first
was
commercially
51 https://www.infoplease.com/
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released
sound
film.
Brothers
and
Vitaphone
earlier in
been
which
releasing
people
jokes,
and
length
film
sang
released called
Warner had
"shorts" and
a
told
feature-
Don
Juan,
which contained a musical score, in
1926,
the
year
before
Al
Jolson sang "Mammy" on film. In fact,
Jolson's
large
measure
talking an
was
in
accident:
The
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film-makers simply couldn't shut the irrepressible entertainer up be-fore his musical numbers. More important than audience satisfaction however,
was
with the
silence,
technological
difficulty of matching sound and visuals
in
such
everyone
in
the
hear.
In
other
a
way
that
audience
could
words,
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the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
problems were synchronization and amplification.
Unlike the invention of film, the
solutions
to
these
problems
were largely American, the result of the work of several American corporations: Electric,
RCA,
Western
AT&T,
and
Warner
Brothers.
Two
of
those
corporations
formed
Page 128 ! of 462 !
a
third,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Vitaphone, first
which
commercially
produced
the
viable
sound
system, essentially a very large phonograph platter hooked up to a film projector with large leather belts, like straps or harnesses. Soon
this
clumsy
apparatus
replaced
by
now-standard
strip
celluloid
of
the
prepped
was
for
sound that runs down the side of
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the film strip, so that the two modes remain in synch.
Al Jolson belts out "Mammy," and
Warner
Brothers
becomes
a
major film studio. Even sound
after
its
presented
invention, a
host
of
problems. The early sound cameras and equipment were big and noisy, and had to be kept in their own
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soundproof
room,
called
a
"blimp." And it took a while for someone
to
figure
out
that
you
could move the microphone around by
placing
it
at
the
end
of
a
stick—called a "boom"—just above the range of the camera. So very early sound52 films tended to be very static because actors had to speak cameras
to
a
static
movement
no
52 https://www.infoplease.com/
Page 131 ! of 462 !
mike,
and
longer
had
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
that graceful and supple fluidity it
had
been
developing
for
30
years. (Some of the problems with early sound film are hilariously portrayed
in
the
MGM
musical
Singin' in the Rain [1952]).
Other problems
nontechnological
had
to
be
resolved
at
the advent of sound: Some actors
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did not sound the way they looked on the silent screen.
It
was
difficult
for
silent
scene writers to find the right balance in sound scripts between action
and
justifiably
dialogue. feared
international silent rely
film on.
losing
audience
could
And
Studios
so
the that
automatically on.
Page 133 ! of 462 !
However,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
after
these
and
other
early
problems with sound were solved, this
technology
element
that
became
another
filmmakers
could
play with to make filmgoing even more
pleasurable
than
it
had
assertion
that
been. Second Take The silent
cliché film
stars
with
funny
voices could not take to the new
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
microphones
and
so
sank
into
oblivion is, for the most part, untrue.
In
fact,
lots
of
very
famous sound actors had perfectly successful
silent
careers:
Joan
Crawford,
William
Powell,
Myrna
Loy,
Ronald
Colman,
and
Gary
Cooper, to name just a few. When silent actors did not succeed, it was not so much because of their voices
as
because
they
Page 135 ! of 462 !
did
not
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
adapt well to the new kinds of roles demanded by sound film.
Director's Cut It is rumored that
the
person
to
solve
the
problem of speaking into a static microphone
was
a
woman—director
Dorothy Arzner—who is supposed to have
invented
microphone"
to
the
"boom
those
actors
get
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moving,
and
to
get
the
motion
back into motion pictures. In the early sound era, the same film53
would
three
languages,
could
still
appeal
to
international
audience
before
subtitling
dubbing
widely the
be
and
used.
For
shooting
version
of
shot
of
in
so
two
that
or
they an
had
been
example,
after
the
Dracula
53 https://www.infoplease.com/
Page 137 ! of 462 !
English
(1931)
and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
everyone
went
home,
the
night
crew came in to shoot the Spanish version,
with
director
and
which
many
aficionados superior
a
different
Spanish horror
believe
version.
to
actors, film be
the
Unfortunately,
this solution proved cumbersome, and was not used very frequently.
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As a consequence, movies are
no
longer
as
international
as
they were, at least in the sense that
American
audiences
are
less
likely
to
foreign
films
because
subtitles people
just like
watch
now
dubbing
and
seem
most
to
inefficient
substitutes for plain speaking.
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Look
Who's
Talking:
Sound
Changes the Industry The addition of sound did not simply mean that actors could now talk; it meant big changes in the way that films were produced. Scenarists now had also
to
be
dialogue
Literary
types
arts
imported
to
were
help
write
from
the
writers. the
other
to
Hollywood
new
talkies:
Dorothy Parker, Robert Benchley,
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William
Faulkner,
and
Ernest
Hemingway, for example. Actors now had to be paragons of articulateness
and
fluency
as
well as pantomime artists.
Certain far
less
exotic
roles
fashionable,
became
in
part
accents
were
because
foreign
harder
to
understand
with
primitive
microphone
and
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amplification
technologies,
in
part because the fantasy of the Asian vamp or the Italian villain seemed
more
added
reality
of
sound,
part
because
some
foreign
began
kitschy
to
with
seem
stereotypical
and
the
and
in
types
rather
xenophobic.
With the exception of Chico Marx, dumb
immigrant
disappearing
Italians
from
Page 142 ! of 462 !
the
started screen,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
along
with
Jewish
shyster
lawyers. Native American stereotypes54— monosyllabic persisted finally
grunts
much
began
and
all—
longer,
but
being
scrutinized
in the 1950s, and even satirized in such films as Blazing Saddles (1974) by the 1970s. Some verbal kinds of comedy— most
conspicuously
54 https://www.infoplease.com/
Page 143 ! of 462 !
typified
by
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the Marx Brothers—was simply not possible until sound. A host of comedians
came
from
vaudeville
and the stage to help round off the
new
cast
of
talking
characters: Jack Benny, Bob Hope, George
Burns
and
Gracie
Allen,
and so on.
At genre
least
sprang
one
up
at
Page 144 ! of 462 !
new
comedy
this
time:
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
screwball
comedy,
a
combination
of romantic comedy and some very silly
behaviour,
sophisticated
that
relied
banter
leading
couple.
The
screwball
remain
in
on
of
the
traces
of
our
culture
to the present day in films like Pretty Woman (1990) or When Harry Met
Sally
(1989),
and
prime-time sitcoms.
Page 145 ! of 462 !
in
many
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
And, of course, at least one
whole genre would not have been possible
without
sound:
the
musical. With a volatile history, going
in
and
very
often,
out
this
of
popularity
genre
persists
in some form to the present day, from
the
"backstage
musical"
the
late
1920s,
the
Astaire-Ginger
to
Rogers
of
Fred
films
of
the Great Depression, to the big
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
colour
MGM
productions
of
the
1950s, to the MTV video, to the rockumentary,
to
the
musical
interludes of The Simpsons.
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Chapter 2 Sound Like Louise Youngman has asserted that
Becoming
a
genuinely
inclusive
w o r k p l a c e 55
means
measuring
what
–
you
do
but
what’s the best way to report on disability employment? There are a million disabled people in the UK who can and want to
work,
but
face
55 https://www.hrzone.com/
Page 148 ! of 462 !
too
many
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
barriers to getting into, staying in
and
progressing
in
work.
That’s a huge pool of talent and potential
waiting
for
employers
to tap into.
to
To
do
that,
workplaces
need
be
genuinely
inclusive.
That
might sound like a daunting task, but it doesn’t have to be.
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Marcus
Buckingham
Ashley
Goodall
has
stated
Employees56
crave
feedback.
that Your
organization’s culture is the key to
its
planning
success. is
competencies and
your
Strategic
essential. should
be
weaknesses
Your
measured
shored
up.
Leadership is a thing. These may sound like basic truths of our work lives today. 56 https://hbr.org/
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15
French
Slang
Words57
To
Make You Sound Like a Local Even people who have studied French
for
years
occasionally
suffer the embarrassment of being responded to in English by French people who are quick to pick up their
accent.
If
you
want
to
really fit in, it is necessary to
57 https://theculturetrip.com/
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learn
French
argot
(slang),
of
which there is plenty!
Mytho Another insult that you may hear thrown about more often than you might
think,
abbreviation literally
mytho of
meaning
is
an
mythomana, ‘a
compulsive
liar’, commonly used to describe someone
who
has
been
Page 152 ! of 462 !
known
to
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
exaggerate the truth, often with the intent to make himself sound better.
Ne
l’écoute
pas,
il
raconte
des histoires. Il est gros mytho. “Don’t listen to him — he just makes stuff up. He’s a complete liar!”58
58 https://theculturetrip.com/
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According
Dictionary
to
by
the
Free
Farlex
the
construct sound as if (redirected from
Sound
like)
sound
as
if
impression
of
(something)
To
give
the
something being the case based on what one hears or is told. It
sounds
unhappy
in
as
if
your
you're
really
job,
least
Page 154 ! of 462 !
at
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
from everything you've told me so far. The team gave me an update on their progress, and it sounded as if
everything
was
going
century,
Brits
smoothly.59
In and The
the
17th
Americans
sounded
British
the
same
Library's
Shakespeare’s 59 https://www.thefreedictionary.com/
Page 155 ! of 462 !
Original
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Pronunciation
CD
features
speeches and scenes that claim to be performed as Shakespeare would have
heard
several that
them,
and
reveals
instances
of
wordplay
only
aloud
make
in
sense
the
when
said
accent
of
Shakespeare's contemporaries. Romeo
and
Juliet
-
British Library Board
Page 156 ! of 462 !
extract
by
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
What it also reveals is how
close
16th-century
accents
sounded
American
ones.
When
settlers
came
to
Britain,
their
accents
English
to
modern
the
first
America
from
were
the
same as those from their original home, but over the centuries ways of speaking on both sides of the pond evolved in different ways.
Page 157 ! of 462 !
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It's
thought
that
Received
Pronounciation - the traditional "cut-glass" English accent - only emerged
relatively
recently,
in
17
on-
the 19th century.
Are
these
the
worst
screen accents ever? 03 Oct 2014 Shakespeare accent
read
reveals
in
'puns,
rhymes' 11 Oct 2013
Page 158 ! of 462 !
Elizabethan jokes
and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
2.
"Fall"
is
a
British
way
of
America,
"fall"
is
the
saying autumn In
accepted term for the season of the
year
containing
golden
leaves,
crisp
mornings
and
Pumpkin
Spice
Lattes
from
Starbucks.
Brits
"autumn".
Page 159 ! of 462 !
call
it
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
In
the
16th
and
17th
migration
from
centuries,
when
Britain
America
both
to
"fall"
and
was
growing,
"autumn"
were
common and interchangeable terms in Britain for the months between summer
and
winter,
as
was
"harvest". "Fall" has Anglo-Saxon roots
and
"autumn"
Latin.
Page 160 ! of 462 !
comes
from
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
At
some
America's
point
growth
as
during
a
separate
nation, European settlers came to use
"fall"
more
commonly,
while
in Britain "harvest" came to have a specific, agricultural meaning and "autumn" gradually became the name of the season. 3.
We
say
"tomato",
also say "tomato"
Page 161 ! of 462 !
Bostonians
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
It's
often
said
biggest
difference
British
accent
one
rhotacism;
is
and
that
the
between an
a
American
words
in
British English have a flat "r" sound, while in American English the sound is rolled.
Of true,
course, as
this
accents
often
within
isn't
Britain
and America vary so widely. New
Page 162 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
York
and
Boston
accents,
for
example, have a flat "r" sound, while Cornish, Scottish and some West
Midlands
those
in
the
accents
are
among
British
Isles
to
retain the rhotic "r". 4. Why do people sound American when they sing in English?
It
is
reported
by
Charlotte
Runcie that The British Library's
Page 163 ! of 462 !
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Shakespeare’s Pronunciation
Original
CD
features
speeches and scenes that claim to be performed as Shakespeare would have
heard
several that
them,
and
reveals
instances
of
wordplay
only
aloud
make
in
sense
the
when
said
accent
of
Shakespeare's contemporaries. Romeo and Juliet - extract by British Library Board
Page 164 ! of 462 !
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What it also reveals is how close 16th-century
English
accents
sounded to modern American ones. When the first settlers came to America accents
from were
Britain,
the
same
their
as
those
from
their
original
home,
but
over
the
centuries
ways
of
speaking
on
both
sides
of
the
pond evolved in different ways.
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It's
thought
that
Received
Pronounciation - the traditional "cut-glass" English accent - only emerged
relatively
recently,
in
the 19th century.
2. "Fall" is a British way of saying autumn In
America,
"fall"
is
the
accepted term for the season of the
year
containing
Page 166 ! of 462 !
golden
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
leaves,
crisp
mornings
and
Pumpkin
Spice
Lattes
from
Starbucks.
Brits
call
it
"autumn". In
the
16th
and
17th
migration
from
centuries,
when
Britain
America
both
to
"fall"
and
was
growing,
"autumn"
were
common and interchangeable terms in Britain for the months between summer
and
winter,
Page 167 ! of 462 !
as
was
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
"harvest". "Fall" has Anglo-Saxon roots
and
"autumn"
comes
from
Latin. At
some
America's
point
growth
as
a
during separate
nation, European settlers came to use
"fall"
more
commonly,
while
in Britain "harvest" came to have a specific, agricultural meaning and "autumn" gradually became the name of the season.
Page 168 ! of 462 !
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3.
We
say
"tomato",
Bostonians
also say "tomato" It's
often
said
biggest
difference
British
accent
one
rhotacism;
is
and
that
the
between an
a
American
words
in
British English have a flat "r" sound, while in American English the sound is rolled. Of true,
course, as
this
accents
often
within
Page 169 ! of 462 !
isn't
Britain
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
and America vary so widely. New York
and
Boston
accents,
for
example, have a flat "r" sound, while Cornish, Scottish and some West
Midlands
those
in
the
accents
are
among
British
Isles
to
retain the rhotic "r". 4.
Why
American
do
when
English?Brits,
people they
sing
Canadians,
Australians...
sound
Scots,
usually,
Page 170 ! of 462 !
in
if
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
they're
singing
pop
music,
they're singing it in an American accent.
Linguists
disagree
over
why this might be, but there are several theories. One you
is
that
stretch
and
when
you
sing,
contract
the
length of your vowels to fit the rhythm.
As
rock'n'roll
music
developed first in America among singers
with
American
Page 171 ! of 462 !
accents,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the musical patterns lead singers to make their pronunciation sound more like those original American accents.
Another
theory
is
singing
makes
you
vowels
and
stops
stressing
that
elongate
syllables
you as
as
your from
strongly
as you do in speech, a pop singer simply sounds more "neutral" than
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
someone speaking in, say, a New Zealand
or
Irish
accent.
This
"neutral" accent happens to sound more
like
a
generic
American
accent. Alternatively,
non-American
pop singers could just be putting it
on
so
listeners
they in
the
appeal United
more
to
States.
After all, singers such as Lily
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Allen
have
no
problem
sounding
like a Brit on their records. 5.
The
most
common
English
accent English
is
spoken
worldwide
by around 840 million people, and is
the
language and
third after
Spanish.
most-spoken
global
Mandarin
Chinese
It's
mother
the
tongue of 335 million people, and
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
a second language for a further 505 million.
As don't
most
speak
natively, common
English
that
English
the means
speakers language the
accent
most
in
the
world is probably what is known officially,
if
imprecisely,
"international English"60.
60 https://www.telegraph.co.uk/
Page 175 ! of 462 !
as
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
When I pull back the double
entendre
lens
to
deconstruct
Youngman expressions it seems to imply
double
occupies also
a
cultural
highlights
constructs and
entendre
measuring
efforts
are
difference
to
space.
two
analysing
information
making
employees.
Page 176 ! of 462 !
She
critical
whether
your
which
a
your real
disabled
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chapter 3 How Sound Affects The Taste Of Our food
Amy Fleming61 that
has reported
High-frequency
sounds
enhance the sweetness in food, while low frequencies bring out the bitterness.
61 https://www.theguardian.com/profile/amyfleming
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As
a
question
consequence
advanced
could
the
sound
replace sugar? And what kind of music should restaurants play?
I
am
table
sitting
eating
at
my
chocolate
kitchen in
the
name of science. (Turns out I'm pretty
good
at
science.)
I'm
trying out some "sonic seasoning" whereby, if I listen to a low-
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pitched sound, my taste awareness somehow shrinks to the back of my tongue
and
focuses
on
the
chocolate's bitter elements. When
I
switch
frequency,
the
to
a
high
floodgates
to
sweetness open up and my entire mouth
kicks
back
in
a
warm,
sugary
bath.
(Try
it
yourself
here.) It is a curious sensation because it doesn't feel, to me at
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least, as if the chocolate tastes different. sounds
It
are
is
more
twisting
that
the
my
grey
matter, changing how it perceives the taste.
The
sound
is
science
nuts
call
taste,
and
the
what
past
sensory
modulating few
years
have seen a boom in research in
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
this
area.
Sound
is
the
final
frontier in food presentation.
Restaurants menus,
agonise
over
furniture
and
crockery,
lighting,
yet
often
any
old
CD
will be stuck on for background music with nary a thought. However,
now
starting
to
everyone
has
that
understand
we're that
synaesthetic
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tendencies
when
it
taste,
is
set
bigger
sound part
comes
to
play
to a
in
our
eating
Jerry's,
for
example,
experience.
Ben
&
is considering a sonic range of ice-cream flavours, with QR codes on
the
eaters
tubs to
that
access
will
allow
complementary
sounds via their phones.
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Back
in
Blumenthal
1997,
introduced
Heston his
iPod-
enhanced seafood dish, Sounds of the
Sea,
but
literal,
that
more
was
a
more
Pavlovian
association: eat fish, listen to the sea, fish tastes fresher and better.
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But
a
experiments abstract
number have
sounds
of
now can
recent
shown turn
how
tastes
up or down by remote control, as it were. Bittersweet symphonies The Crossmodal Laboratory at Oxford University fed a group of volunteers
some
cinder
toffee
while playing them high- and lowfrequency sounds, and asked them
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
to
rate
the
taste
on
a
scale
running from sweet to bitter. Just as I experienced in my kitchen,
high
notes
enhanced
sweetness and low brought out the bitter. But far
a
laboratory
removed
from
setting
real
life,
is so
Charles Spence, who runs the lab, teamed
up
Caroline
with
food
Hobkinson
Page 185 ! of 462 !
artist to
test
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
whether
the
results
would
be
replicated out in the field.
For
one
month,
London
restaurant House of Wolf served a "sonic
cake
pop"
of
chocolate-
coated bittersweet toffee, which came,
intriguingly,
with
a
telephone number. On the other end of the line was
an
operator
instructing
Page 186 ! of 462 !
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
diner to dial one for sweet and two
for
bitter, high
and
they
were
played
the
and
low-pitched
sounds
accordingly.
Hobkinson
says: "It makes me laugh because it works every time, and people say, 'Oh! That's so weird!'"
She put on a similar event at the Royal Institute in London for which,
instead
of
Page 187 ! of 462 !
playing
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
synthesised
sound
Royal
Academy
of
some
abstract
live
clips,
Music
the
devised
performances
that would do the trick with more feeling. "It works with coffee, too," she
adds,
exciting sound
and
she
foresees
possibilities
replacing
sugar
morning
espresso.
another
study
by
Page 188 ! of 462 !
such in
as
your
Meanwhile, Spence
also
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
matched the savoury taste, umami, with low pitches. Why airline food can't win Confirming the hunches of so many
ravenous
aeroplane
passengers, a study published in 2011
found
noise
that
loud
suppresses
background
saltiness,
sweetness
and
overall
enjoyment
of
(For
flyers,
this
food.
compounded
by
the
high
Page 189 ! of 462 !
is
altitude
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
blocking
nasal
passages,
and
therefore access to aromas.) Incidentally, for those among you who curse that you can't hear yourself think, or indeed taste, in
some
restaurants,
it
isn't
unheard of for the background din to register 90db, which is a tad louder than commercial flights.
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However,
Spence
points
out:
"Have you ever noticed how many people ask for a bloody mary or tomato
juice
trolley
on
from
the
aeroplanes?
drinks The
air
stewards have, and when you ask the people who order, they tell you that they rarely order such a drink at any other time." Spence reckons this is because umami may be immune to noise suppression.
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If he proves his hypothesis,
perhaps
concentrating
rich
ingredients
on
umami-
such
as
tomatoes, parmesan, mushrooms and cured meats in the sky could help obliterate plane-food hell. Sound and smell
Last year, a paper published in
the
journal
Perception
Chemosensory
looked
Page 192 ! of 462 !
at
matching
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
pitches
and
instruments
with
odours (smell being the dominant sense in flavour appreciation).
The
aromas
of
candied
peel,
dried plums and iris flowers were all
matched
with
piano
significantly more than woodwind, strings
or
brass.
other
hand,
was
Musk,
on
the
overwhelmingly
brass. In terms of pitch, candied
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orange
and
significantly
irises
higher
were
than
musk
and roasted coffee. This is just the start of a long
and
research,
winding
and
the
road
findings
of will
undoubtedly
be
noted
most
by
multinational
companies
keen
to
manipulate
into
us
products.
Page 194 ! of 462 !
loving
their
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Have
you
knowingly
experienced synaesthesia when it comes
to
taste?
sound
to
taste
Does
seem
a
matching massive,
unnecessary faff? Does restaurant noise often spoil your meal?62
62 https://www.theguardian.com/profile/amyfleming
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Chapter 4 Musical Sound William E. Thomson makes the point
that Musical
sound63 ,
any
tone with characteristics such as controlled pitch and timbre. The sounds
are
produced
by
instruments in which the periodic vibrations
can
be
controlled
the performer.
63 https://www.britannica.com/contributor/William-E-Thomson/2965
Page 196 ! of 462 !
by
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
That
some
sounds
intrinsically
musical,
others
not,
are
are
while
is
an
oversimplification.
From the tinkle of a bell to the slam of a door, any sound is a
potential
ingredient
kinds
of
sound
called
music64.
for
the
organization
The
choices
of
sounds for music making have been 64 https://www.britannica.com/contributor/William-E-Thomson/2965
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severely and
limited
periods
by
in
a
all
places
diversity
of
physical, aesthetic, and cultural considerations. This article will analyze those involved in Western musical traditions.
The
fundamental
usually
made
tone
and
best
clarified
has
noise, by
distinction
been a
between
distinction referring
Page 198 ! of 462 !
to
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the
physical
characteristics
of
sound.
Tone
differs
from
mainly
in
that
possesses
features
that
regarded
as
it
enable
it
autonomous.
noise
to
be
Noises
are most readily identified, not by their character but by their sources; e.g., the noise of the dripping
faucet,
the
grating
chalk, or the squeaking gate.
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Although
commonly
tones
linked
too
with
are
their
sources (violin tone, flute tone, etc.), they more readily achieve autonomy
because
controlled
they
pitch,
possess
loudness,
timbre, and duration, attributes that
make
them
amenable
to
musical organization. Instruments that
yield
tones,
are
musical those
sounds,
that
Page 200 ! of 462 !
or
produce
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
periodic
vibrations.
Their
periodicity is their controllable (i.e., musical) basis.
The
strings
of
the
violin,
the lips of the trumpet player, the reed of a saxophone, and the wooden slabs of a xylophone are all,
in
their
unique
ways,
producers of periodic vibrations. The
pitch,
or
high-low
Page 201 ! of 462 !
aspect,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
created
by
each
of
these
vibrating bodies is most directly a
product
frequency. is
a
of
Timbre
product
complement motions
vibrational
of
enacted
(tone
of
the
colour) total
simultaneous by
any
medium
during its vibration. Loudness is a
product
that
of
motion.
the
intensity
Duration
Page 202 ! of 462 !
is
of the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
length
of
time
that
a
tone
persists. Get
unlimited
ad-free
access
to
all Britannica’s trusted content.
Each
of
these
attributes
is
revealed in the wave form of a tone.
The
visualized
pattern
as
an
may
elastic
be
reed—
like that of a clarinet—fixed at one end, moving like a pendulum
Page 203 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
in a to-and-fro pattern when set into
motion
(see
illustration).
Clearly, this reed’s motion will be in proportion to the applied force. Its arc of movement will be
lesser
or
greater
depending
upon the degree of pressure used to
set
it
into
motion.
Once
moving,
it
will
oscillate
until
friction cause
it
and to
its
own
return
Page 204 ! of 462 !
inertia to
its
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
original moves
state
through
of
its
rest.
arc
As
the
it
reed
passes through a periodic number of cycles per time unit, although its speed is not constant. With these conditions prevailing, its motion charted
through by
time
placing
could a
be
carbon
stylus on its moving head, then pulling a strip of paper beneath it at a uniform rate. The reed’s
Page 205 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
displacement
to-and-fro
diminishes in a smooth fashion as time
passes
(decreasing
intensity). Each cycle of its arc is
equally
frequency).
spaced Each
(uniform
period
of
the
motion forms the same arc pattern (uniform
wave
content).
If
this
vibratory motion were audible, it could be described as follows: it grows
weaker
from
the
Page 206 ! of 462 !
beginning
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
(diminishing
loudness)
until
it
becomes inaudible; it remains at a
stable
(steady
level
of
pitch);
and
highness it
is
of
unvarying tonal quality (uniform timbre). If the reed were a part of
a
clarinet
continued unvaried
and
the
blowing
pressure,
it
player with
loudness,
pitch, and timbre would appear as constants.
Page 207 ! of 462 !
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Tone Most from
the
musical
tones
differ
demonstration
tone
(above) in that they consist of more than a single wave form. Any material
undergoing
vibratory
motion
imposes
its
characteristic the
fundamental
reed
probably
own
oscillations
on
vibration.
The
would
Page 208 ! of 462 !
vibrate
in
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
parts as well as a whole, thus creating
partial
wave
forms
in
addition to the fundamental wave form.
These
partials
fortuitous.
They
bear
are
not
harmonic
relationships to the fundamental motion
that
frequency
are
ratios
expressible of
1:2,
as
3:4,
etc. This means that the reed (or string or air column as well) is vibrating
in
halves
Page 209 ! of 462 !
and
thirds
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
and fourths as well as a whole. Another way of expressing this is that half the body is vibrating at a frequency twice as great as the whole; a third is vibrating at
a
frequency
three
times
greater; etc. These numerical relationships also
are
expressible
by
pitch
relationships as the harmonic, or overtone,
series
Page 210 ! of 462 !
(see
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
illustration), which is merely a representation ratios
in
of
terms
numerical of
pitch
equivalents. Depending upon its shape and substance, performs
a
vibrating
motions
that
equivalents
of
vibrations,
whether
mass
these it
of
a
string,
woodblock,
or
air
are
the
partial be
the
reed,
column.
Page 211 ! of !462
mass
This
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
means
that
most
tones
are
composites:
they
consist
of
partial
vibrations
of
the
vibrating
body
as
the
as
well
vibrations of the whole mass. Although one can develop the acuity required to hear some of these overtones within a musical tone,
the
ear
normally
them
as
separate
ignores parts,
recognizing only a more or less
Page 212 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
rich
tone
quality
within
the
fundamental pitch.
Although pure tones, or tones lacking other than a fundamental frequency, music,
sometimes
occur
in
musical
tones
are
most
composites. A typical violin tone is
relatively
while
a
rich
flute
in
overtones
tone
sometimes
approaches a pure tone. What the
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listener recognizes as “a violin tone” or “a trumpet tone” also is a
product
of
the
noise
content
that accompanies the articulation of
any
sound
on
the
particular
instrument.
The
friction
of
bow
is
set
motion
as
it
into
the
across the string, the eddies of air
pressure
mouthpiece,
within
a
or
hammer’s
the
horn’s
impact on a piano string all add
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an extra dimension, a significant “noise
factor,”
to
any
manually
articulation,
however,
produced tone. After
it is the presence or absence of overtones
and
intensities
their
that
timbre
of
any
and
flute
articulatory
determine
tone.
distinguishable
relative the
The
violin
tones
are
because
their
“noises”
Page 215 ! of 462 !
are
quite
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
different contents
and
are
their
overtone
dissimilar,
even
when they produce the same pitch.
Musical
tones
of
determined
harmonic content can be produced by
electronic
transistors traditional Some
vacuum as
well
manual
electronic
tubes as
or by
instruments. organs,
for
example, use single vacuum tubes
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whose
frequency
output
can
be
varied
through
control
of
an
adjustable
transformer.
ingenious
mixing
compound
Through
circuits
a
tone
consisting
of
predetermined
overtone
content
can
be
produced,
imitating
the
any
thereby
sound
of
any
traditional instrument. Composers of electronic music have utilized this
capability
to
Page 217 ! of 462 !
synthesize
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
tones
quite
different
from
any
available
on
traditional
instruments,
as
well
similar
natural
to
as
tones
sounds.
Electronic computers are capable of
complete
imitation
of
such
sounds; the tone is broken down into
its
component
synthesized
through
output circuit.
Page 218 ! of 462 !
parts, an
then
auditory
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Music Tone
White noise Pitch
Movement Once
an
audible
oscillation
is
produced by a vibrating body, it moves away from its source as a spherical pressure wave. Its rate of passage through any medium is
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determined density
by
and
the
medium’s
elasticity;
the
denser the medium, the slower the transmission;
the
greater
the
elasticity, the faster. In air at around
F,
sound
moves
at
approximately
1,120
feet
per
second,
60°
the
rate
increasing
by
1.1 feet per second per degree of rise in temperature65.
65 https://www.britannica.com/contributor/William-E-Thomson/2965
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Sound
waves
move
as
a
succession
of
compressions
through
air.
The
is
the
determined
by
wavelength
frequency;
the
higher the pitch, the shorter the wavelength. A pitch of 263 cycles per
second
(middle
C
of
the
piano) is borne as a wavelength of
around
4.3
feet
(speed
of
sound ÷ frequency = wavelength).
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By the time a wave has moved some distance, it has changed in some of
its
characteristics.
journey
has
intensity,
robbed
which
is
it
The of
inversely
proportional to the square of the distance. altered
Its
timbre
slightly
by
has
been
objects
within its path that disrupted an equitable
distribution
of
frequencies,
particularly
the
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high-frequency unlike
the
relatively
waves,
low,
straight
which,
move paths
in from
their sources66.
The area within which a sound occurs
can
have
considerable
effect upon what is heard. Just as a string or reed or air column has
a
natural
(or
rate
of
resonance
period
vibration),
66 https://www.britannica.com/contributor/William-E-Thomson/2965
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any
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
enclosure—whether
an
audio
speaker cabinet or the nave of a cathedral—imposes
its
characteristics
on
a
within
Any
it.
approximates characteristic of
an
in
sound tone
wave that
frequency
resonance
enclosure
reinforced
resonance
period
will
through
the
be the
sympathetic response, or natural resonance, of the air within the
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enclosure. This means that tones of frequencies differing from the resonance
of
the
enclosure
will
be less intense than those that agree,
thereby
creating
an
inequity of sound intensities.
Fortunately, most rooms where music
is
performed
are
large
enough (wall lengths greater than about
30
feet)
so
Page 225 ! of 462 !
that
their
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
natural resonance periods are too slow to fall within the range of pitches
of
the
lowest
musical
tones (usually no lower than 27 cycles per second, although some organs have pipes that extend to 15
cycles
rooms
per
can
second).
produce
sympathetic
materials
disturbing
resonance
obstructions are
or
added
Page 226 ! of 462 !
Smaller
unless
absorbent to
minimize
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
that
effect.
(Bathroom
singers
revel in this phenomenon because the
band
of
resonance
sometimes
lies close enough to the pitches of the male voice to support it, making it appear richer and more powerful.)
In addition to resonance, any enclosure reverberation
possesses period,
Page 227 ! of 462 !
a
unit
a of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
time measured from the instant a sound fills the enclosure (steady state)
until
decayed
to
that
sound
one-millionth
has
of
its
initial intensity. Anyone who has spoken inside
or a
clapped
large,
empty
experienced reverberation. reasons
for
reverberation:
his
hands
room
has
prolonged There
such
two
protracted
first,
Page 228 ! of 462 !
are
the
space
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
between
the
surfaces so
of
great
the
enclosure
is
reflected
sound
waves
travel
extended
distances
before
decaying;
and,
second,
that
the
absence
of
highly
absorbent
materials
precludes
appreciable
loss
of
intensity
of
the
wave
during its movement. The reverberation period is a crucial
factor
in
Page 229 ! of 462 !
rooms
where
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
sounds
must
be
considerable period
is
heard
fidelity.
too
long
in
with
If
the
a
room
where speech must be understood, spoken syllables will blend into each other and the words will be mumbled
confusion.
other
hand,
period
is
the
too
If,
on
the
reverberation
brief
in
a
room
where human “presence” and music each contribute to the acoustics,
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
only a “cold” and “dull” feeling will
persist,
reverberative
because
support
of
no the
prevailing sounds can be provided by
the
also
enclosure
acoustics:
itself.
(See
Architectural
acoustics.) Although
all
sound
waves,
regardless of their pitch, travel at the same rate of speed through a
particular
medium,
Page 231 ! of 462 !
low
tones
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
mushroom
out
in
a
broad
trajectory while high tones move in
straight
reason
paths.
listeners
in
For
this
any
room
should be within a direct path of sound propagation.
Seats far to the side at the front
of
an
auditorium
offer
occupants a potentially distorted version of sound from its source.
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Thus the high-frequency speakers (tweeters)
in
reproduction
systems
are
angled
toward
sides
the
room,
the
good
of
audio
ensuring wider coverage for highfrequency
components
of
all
sounds.
Sites of musical performance in
the
open
different
demand
quite
acoustical
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
arrangements, sound and
of
reflection walls
course, from
cannot
since
ceilings
occur
and
reverberation cannot provide the desirable
support
that
be
room.
A
available
within
reflective
shell
placed
the
source
can
sound
boost
a
would
in
transmission
toward
listeners.
reflector
must
be
Page 234 ! of 462 !
behind
provide of
a
sounds
Such
a
designed
so
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
that
relatively
propagation locations
uniform
will
where
wave
reach
all
listening
will
occur. The shell form serves that purpose curved angles
admirably shape
avoids
that
continuous
since
its
the
right
might
set
up
reflections,
or
echoing. Furthermore, sound waves are reflected more uniformly over a wide area than with any other
Page 235 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
shape,
diffusing
over
the
path
(The
needs
those
of
of
here the
them
equally
propagations.
are
similar
photographer
to who
wishes to flood a scene uniformly with flat light rather than focus with
a
spotlight
area.)
Pitch And Timbre
Page 236 ! of 462 !
on
a
small
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Just as various denominations
of
coins
larger
combine
units
to
form
a
monetary
of
the
system, so musical tones combine to form larger units of musical experience. loudness,
Although
duration,
act
as
the
structuring
pitch
four-fold
has
dominating
been
pitch,
and
timbre
coordinates of
these
favoured
attribute
Page 237 ! of 462 !
in
units, as
by
the most
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Western theorists. The history of music
theory
has
to
a
great
degree consisted of a commentary on the ways pitches are combined to make musical patterns, leaving loudness and timbre more as the “understood”
parameters
of
the
terminology,
for
musical palette.
Music
example, recognizes loudnesses in
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
music in terms of an eight-level continuum
of
“extremely
nuances
soft”
from
(ppp,
or
pianississimo)
to
loud”
(fff
fortississimo).
(The
musical
or
“extremely
dominance
of
Italy
from the late 16th to the 18th century—when these Italian terms first were applied—explains their retention today.)
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The timbres of music enjoy an
even less explicit and formalized ranking;
other
than
the
vague
classifications
“shrill,”
“mellow,”
and
“full,”
so
on,
there is no standard taxonomy of tone
quality.
Musicians
for
the
most part are content to denote a particular timbre by the name of the instrument that produced it.
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Division of the pitch spectrum Pitch
is
another
matter.
A
highly developed musical culture demands a precise standardization of pitch, and Western theory has been occupied with this task from as
early
as
Aristoxenus
(4th
century BC). Especially since the Renaissance,
when
instruments
emerged as the principal vehicles of the musical impulse, problems
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
of
pitch
location
representation challenged musician.
(notation)
the
When
(tuning)
and
have
practicing at
least
two
instrumentalists sit down to play a
duet,
there
must
be
some
agreement
about
pitch,
or
only
frustration will result. Although the standardization of the pitch name a′ (within the middle of the piano keyboard) at 440 cycles per
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second has been adopted by most of the professional music world, there was a day—even during the mid-18th
century
of
Bach—when
pitch uniformity was unknown.wind instrument:
The
production
of
sound Tubes used to produce a musical sound
may
be
cylindrical,
conical,
or
some
combination
Page 243 ! of 462 !
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the
two.
They
may
also
be
straight or curved.…
Man’s perception of pitch is confined within a span of roughly 15 to 18,000 cycles per second. This upper limit varies with the age
and
ear
individual, normally
structure the
of
the
upper
limit
attenuating
with
advancing age. The pitch spectrum
Page 244 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
is divided into octaves, a name derived
from
the
scale
theories
of earlier times when only eight (Latin
octo)
notes
within
this
breadth were codified. Today the octave
is
considered
in
music
to
define
boundaries
the
Western
for the pitches of the chromatic scale.
The
piano
useful
visual
this
12-unit
keyboard
is
a
representation
of
division
Page 245 ! of 462 !
of
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
octave.
Beginning
on
any
key,
there are 12 different keys (and thus
12
counting
different the
pitches),
beginning
key,
before a key occupying the same position in the pattern recurs. One the
must
keep
chromatic
in
mind
that
scale,
within
the
various octave registers of man’s hearing, is merely a conventional standard
of
pitch
Page 246 ! of 462 !
tuning.
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Performers like singers, trombone and string players, who can alter the
pitches
frequently
make
they use
produce, of
pitches
that do not correspond precisely to this set of norms. The music of many non-Western cultures also utilizes the
distinct
octave.
contemporary
divisions
Furthermore, music
makes
of
some
use
of
pitch placements that divide the
Page 247 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
octave
into
units
smaller
than
the half-step. This music, called microtonal,
has
standard
fare
cultures,
in
advocates
(Alois
Carillo,
Karlheinz
not in
become
Western
spite Hába,
of
its
Julian
Stockhausen)
and even its special instruments that
provide
a
means
consistent performance.
Page 248 ! of 462 !
for
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Western
dotted
music
with
history
systems
is
formulated
for the precise tuning of pitches within the octave. From a modern viewpoint all suffer from one of two
mutually
either
they
(intervals) they
are
exclusive lack
of
faults:
relationships
uniform
incapable
of
size,
or
providing
chords that are acceptable to the ear. Pythagorean tuning provides
Page 249 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
uniformity
but
not
the
chords.
Just tuning, based on the simpler ratios
of
provides
the
the
overtone
chords
but
series, suffers
from inequality of intervals.
Meantone
tuning
provides
equal intervals but gives rise to several
objectionable
chords,
even in simple music. All three of these systems fail to provide
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the pitch wherewithal for the 12 musical
keys
found
in
the
standard repertoire. The compromise tuning system most widely
accepted
since
the
mid-19th century is called “equal temperament.”
Based
on
the
division
octave
into
12
of
the
equal
half-steps,
or
semitones,
this
method
provides
precisely
equal intervals and a full set of
Page 251 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
chords
that,
euphonious overtone
although
as
not
as
of
the
are
not
those
series,
offensive to the listener.
The semitone is the smallest acknowledged
interval
Western
system.
pitch
of
The
the sizes
of all remaining intervals can be calculated
by
determining
how
many semitones each contains. The
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
names
of
these
intervals
derived
from
through
a
simple
counting
and
spaces
of
lines (see
musical
are
illustration).
notation
the
Just
of
staff as
the
overtone content of a single tone determines
timbre,
relationship
the
of
the
constituent
pitches of an interval determines its quality, or sonance. There is a long history of speculations in
Page 253 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
this
area,
but
the
subjectivity
of the data indicates that little verifiable
fact
can
be
sorted
from it.
Consonance and dissonance Until the 20th century, music theorists
were
prone
to
concoct
tables that showed an “objective” classification of intervals into the
two
opposing
Page 254 ! of 462 !
camps
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
consonant and dissonant. But only the person who utters these terms can know with assurance what he means
by
them,
although
many
attempts have been made to link consonant with pleasant, smooth, stable, with
beautiful
and
unpleasant,
dissonant grating,
unstable,
and
ugly.
adjectives
may
be
meaningful
in
reasonably
musical
Page 255 ! of 462 !
These
contexts,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
but
difficulty
attempts
to
evaluation
arises
pin on
a
a
if
one
singular
particular
interval per se.
Theorists have noted that the character altered
of
an
interval
considerably
by
is the
sounds that surround it. Thus the naked
interval
“grating,”
that
sounds
“unstable,”
Page 256 ! of 462 !
and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
lacking in fusion might within a particular
context
create
an
altogether different effect, and vice versa. Recognition
of
the
power
of
context in shaping a response to the individual pitch interval has led some music theorists to think more in terms of a continuum of sonance
that
consonant
to
extends more
Page 257 ! of 462 !
from
more
dissonant,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
tearing down the artificial fence once presumed to separate the two in experience. The explanation of consonance and dissonance offered by Hermann von
Helmholtz
Sensations
of
perhaps
helpful
as
in
Tone
On
the
(1863)
is
as
any.
An
initial theory was based on the notion
that
product
of
dissonance
beats,
which
Page 258 ! of 462 !
is
a
result
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
from simultaneous tones or their upper
overtones
differing
slightly
frequencies.
explanation, Helmholtz,
of
offered
held
that
Another
later two
by
tones
are consonant if they have one or more
overtones
(excluding
the
seventh and ninth) in common (see illustration).
Page 259 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Common
overtones
(incomplete
series, excluding the seventh) at various pitch intervals.
Music in which a high degree of
dissonance
rekindled
occurs
has
in
this
old
psychoacoustics.
The
interest
problem
of
German
composer
Paul
Hindemith
(1895–1963)
provided
explanation
harmonic
of
Page 260 ! of 462 !
one
tension
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
and relaxation that depends upon the
intervals
found
within
chords. According to his view a chord
is
more
dissonant
than
another if it contains a greater number
of
intervals
that,
as
separate entities, are dissonant. Although
Hindemith’s
reasonings
and
not
widely
been
absence
of
any
conclusions accepted, more
Page 261 ! of 462 !
have the
convincing
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
explanation
and
classification
often leads musicians to use his ideas implicitly.
Although
the
complete
pitch
spectrum can be tuned in a way that
provides
12
pitches
per
octave (as the chromatic scale), pitch
organization
in
music
usually is discussed in terms of
Page 262 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
less
inclusive
kinds
of
scale
patterns. The most important scales in traditional
Western
theory
are
seventone
(heptatonic),
which,
like
the
chromatic,
operate
within
the
octave.
are
different
from
These
scales
one
another
only in the intervals formed by their
constituent
major
scale,
pitches.
for
Page 263 ! of 462 !
The
instance,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
consists
of
seven
arranged
in
the
order:
pitches
intervallic
tone–tone–semitone–tone–
tone–tone–semitone. Called major because of the large (or
major)
third
that
separates
the first and third pitches, this scale
differs
from
the
minor
scale mainly in that the latter contains a small (or minor) third in
this
location.
Page 264 ! of 462 !
Since
three
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
variants of the minor scale are recognized
in
the
music
of
the
Western
repertoire,
it
is
important to note that they share this small interval between their first and third pitches.
Scales and modes Major and minor scales formed the primary pitch ingredients of music
written
between
Page 265 ! of 462 !
1650
and
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
1900, although this is a sweeping generalization
for
which
exceptions
rare.
Other
are
not
scales,
called
modes,
greater
representational
for
music
of
earlier
for
much
of
the
possess power
times
and
repertoire
of
Western folk music. These too are heptatonic
patterns,
their
uniqueness produced solely by the differing
pitch
relationships
Page 266 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
formed by their members. Each of the
modes
can
most
easily
be
reproduced by playing successive white keys at the piano. The modes and the major and minor
scales
best
represent
the
pitch structure of Western music, though
they
do
not
utilize
the
total complement of 12 chromatic pitches
per
octave.
They
are
abstractions that are meaningful
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for tonal music; i.e., music in which a particular pitch acts as a
focal
point
of
perception,
establishing a sense of repose or tonality
to
which
the
remaining
six pitches relate. Major
and
tonality
was
music
until
minor
basic it
to
scale Western
began
to
disintegrate in the art music of the
late
19th
century.
Page 268 ! of 462 !
It
was
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replaced in part by the methods of Arnold Schoenberg (1874–1951), which used all 12 notes as basic material.
Since
that
revolution
of the early 1920s, the raw pitch materials
of
frequently
Western
been
music
have
from
the
drawn
complete chromatic potential. By contrast, Eastern
the
music
cultures,
a
of
several
number
of
children’s songs, and occasional
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Western pitch as
folk
songs
materials
pentatonic
incorporate
best
classified
(a
five-pitch
scale).
Sound
Production
Of
Musical
Instruments Excluding
electronic
tone
synthesizers, which employ vacuum tubes
or
transistors
to
produce
tones, musical instruments can be
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classified
within
three
groups:
(1) chordophones, or strings; (2) aerophones,
or
winds;
idiophones
and
membranophones,
nearly
all
(3)
which
are
percussion
instruments.
Each
category
further
is
of
and
divisible
into groups according to the way the vibrating medium is set into motion.
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Chordophones Three
means
of
eliciting
sounds
determine three categories within the family of chordophones. They are
bowing,
plucking,
and
common
of
the
are
the
violin,
violoncello,
and
double
striking. first
Most
category
viola, bass
of
which
use
setting
the a
orchestra,
all
of
horsehair
bow
for
their
strings
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into
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
motion. box
Essentially
bearing
resonant
strings
different
of
four
fundamental
frequencies, group
a
members
have
not
of
this
changed
appreciably in construction since the 17th century, except for the 20th-century electrified fact
a
advent
bass,
close
which
cousin
amplified guitar.
Page 273 ! of 462 !
of is of
the in the
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Violins
and
the
larger
members of its group are sounded by
plucking
occasion, brittle
which
tone
duration.
(pizzicato)
of
The
on
provides
extremely
harp
is
the
a
brief best
known orchestral instrument whose tone
depends
components
upon
added
by
the
noise
plucking.
Other plucked instruments are the
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guitar, banjo, mandolin, ukelele, zither,
lyre,
harpsichord. from
the
strings
and
The
latter
piano
in
are
plucking
lute,
action
differs
that
actuated of
the
its
by
the
a
tiny
plectrum.
The piano is most notable of the struck stringed instruments, employing
a
hammer
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mechanism
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linked
with
producing
the
its
keyboard
wide
range
for of
sounds. Other instruments of this group are the clavichord and the dulcimer.
For all chordophones pitch is proportional and
to
inversely
length,
string
tension
proportional
thickness,
and
to
density.
Since string length is the most
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readily altered of these factors, all chordophones provide a means for
altering
length
of
the
strings
resonating (as
with
the
violin and guitar) or a set of many
string
lengths
and
masses
(as with the piano and harp) for producing a variety of pitches.
Aerophones
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This
category
everything
from
the
organ
pipe
understood reference air
to
column
the
by the
covers
piccolo
and
is
to
best
consistent nature
of
the
employed
in
the
various types of instruments, as well as the way this air column is set into motion.
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Brass
instruments
consist
of
a
long tube whose cross section is proportionately small. Coupled that,
in
with
response
a
mouthpiece
to
vibrations
of the performer’s lips, helps to create
eddies
of
air
pressure
that set an enclosed air column into
motion,
produce
a
these
range
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instruments of
pitches
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corresponding
to
the
overtone
series.
The bugle is a primitive kind of brass instrument in that it is limited
to
only
one
overtone
series, while the modern trumpet, cornet,
French
horn,
tuba,
flügelhorn,
kinds
of
trombone,
and
various
euphoniums
utilize
valves or a slide to lengthen the
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air column and thus provide up to seven different overtone series.
Pitch on these instruments is primarily length,
a
function
the
of
wavelength
instrument’s
tube
of
fundamental
the
pitch
equal to twice the length of the tube,
plus
correction
a
so-called
that
end
accommodates
variations of bore. Timbre is a
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product of mouthpiece shape, bore (whether cylindrical or conical), and
material,
important player
role
aside
from
performed
himself
in
the
by
the
obtaining
desired overtones.
Woodwinds
prior
to
the
20th
made
for
the
most
century
were
part
of
wood.
and
clarinets
Today are
the
flutes
classified
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in
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this group only because of this heritage,
while
the
saxophones,
always built of metal, share only the
reed
fingering
mouthpiece
and
technique
similar
with
the
clarinet.
All are, nonetheless, called woodwinds, and they consist of an air column set into motion by one of
two
means:
(1)
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through
high
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pressure
eddies
produced
wind
the
performer
of
by
the
blown
directly into the instrument (as with
a
recorder
or
whistle)
or
over it (as with the flute and piccolo), or (2) by means of a vibrating reed that is set into motion by air pressure from the performer.
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The clarinets and saxophones
utilize
a
single
reed
fixed
at
one end, while the oboe, English horn,
and
reeds
that
laterally For
bassoon
all
are
and of
use
thin
connected
vibrate
these
two
jointly.
instruments,
either keys or the fingers of the performer
directly
open
holes,
with the effect of shortening the enclosed
air
column
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of
the
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instrument and thereby producing higher
fundamental
Through
overblowing
fingering
and
various
procedures,
overtone
series
wealth
pitches
of
pitches.
provides available
the the on
these instruments.
Free reed instruments utilize a single, freely vibrating reed, different in nature from that of
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a woodwind. The category includes the
accordion,
harmonica,
and
harmonium and their relatives. In these
instruments
vibrates, vibrations
causing in
the
the
reed
periodic
air;
but
the
reed’s size, rather than the air enclosed
by
the
instrument,
determines the pitch.
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Pipe
aerophone
organs (wind)
are
of
the
category,
too,
although their keyboard mechanism and literature link them closely with
the
piano
and
Like
a
grand
synthesis
woodwinds
and
harpsichord.
brasses,
of
organs
produce their tones by means of tuned air columns that are formed with
pipes
of
varied
length,
cross section, and shape (called
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flue
pipes)
or
by
means
of
a
vibrating brass reed actuated by forced
air
(called
reed
pipes).
Flue pipes range in length from under an inch to 32 feet.
Idiophones and membranophones Idiophones are instruments whose bodies vibrate to produce sound. The
class
pitched
contains
percussion
Page 289 ! of 462 !
most
of
the
instruments.
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
These include instruments made of wood
or
other
organic
material,
such as xylophones. They
also
include
percussioninstruments
pitched that
are
struck or plucked and are made of metal or other inorganic material (triangle,
glockenspiel,
vibraphone,
celesta,
bell,
gong,
glass
steel
drum,
harmonica,
Page 290 ! of 462 !
tubular cymbal, etc.).
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Idiophones without pitch consist of
such
instruments
as
the
percussion board, castanets, and rattles, all of which are made of wood
or
other
organic
material
and are struck, scraped, rubbed, brushed, or shaken. Membranophones produce sound by a vibrating membrane. The notably
group of
consists
the
most
timpani,
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or
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kettledrums, by
which
increasing
tension form
of
the
or
the
heads
cavities. of
pitch,
such
bongos,
and
types
of
drums as
tuned the
membranes
that
the
enclosed
membranophones without side
various
fixed
be
decreasing
of
Other
consist
can
and
pitch.
Page 292 ! of 462 !
fixed
drums,
non-Western indefinite
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
are
Tone
quality
the
result
skill and
in
and
of
the
controlling
overtone
character player’s intensity
character
sound67.
67 https://www.britannica.com/contributor/William-E-Thomson/2965
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of
the
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Chapter 5 Sound Change Refers To Diachronic Changes
Sound
change 68
includes
any
processes of language change that affect
pronunciation
change)
or
(phonetic
sound
system
structures (phonological change).
Sound the
change
can
consist
replacement
of
one
68 https://en.wikipedia.org/wiki/Main_Page
Page 294 ! of 462 !
of
speech
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
sound
(or,
phonetic
more
generally,
feature
one
value)
by
another, the complete loss of the affected
sound,
or
even
the
introduction of a new sound in a place where there had been none.
Sound
changes
environmentally
can
conditioned,
meaning
that
the
occurs
in
defined
a
be
Page 295 ! of 462 !
change
only sound
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
environment,
whereas
environments
the
sound
not
affected
term
"sound
is
in
same
other
speech by
the
change.
The
change"
refers to diachronic changes—that is, changes in a language's sound system over time; "alternation", on
the
other
changes
hand, that
Page 296 ! of 462 !
refers
to
happen
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
synchronically
(i.e.
within
language
of
an
speaker,
depending
the
individual on
the
neighboring sounds) and which do not
change
underlying
the
system
language's (for
example,
the -s in the English plural can be
pronounced
differently
depending
on
what
follows,
in
bet[s],
as
Page 297 ! of 462 !
sound
it
bed[z];
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
this
is
a
form
of
alternation,
rather than sound change).
However, since "sound change" can
refer
to
introduction (such
as
of
the
historical
an
alternation
post-vocalic
/k/
in
Tuscan—once [k] as in di [k]arlo 'of
Carlo',
but
now
[h]
di
[h]arlo, alternating with [k] in other
positions:
con
Page 298 ! of 462 !
[k]arlo
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'with
Carlo')—the
inherently
label
imprecise
and
is
often
must be clarified as referring to phonemic change or restructuring.
Research
on
sound
change
is
usually conducted on the working assumption
that
it
is
regular,
which means that it is expected to
apply
mechanically
its
structural
whenever
conditions
Page 299 ! of 462 !
are
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met,
irrespective
of
any
non-
phonological factors (such as the meaning of the words affected).
However, to
regular
apparent change
can
exceptions occur—due
to dialect borrowing, grammatical analogy,
or
other
causes
known
and unknown—and some changes are described as "sporadic", meaning that
they
affect
Page 300 ! of 462 !
only
one
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particular word or a few words, without any apparent regularity.
of
The
Neogrammarian
linguists
the
19th
introduced
century
the term "sound law" to refer to rules of regular change, perhaps in
imitation
of
the
laws
of
physics.69and
the
term
"law"
is
still
in
referring
to
used
specific sound rules named after 69 Sihler, p. 50
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their
authors,
such
as
Grimm's
Law, Grassmann's Law, etc.. Realworld
sound
changes
exceptions;
often
nevertheless,
expectation
of
their
or
of
exceptions
absence
great
admit
heuristic
historical
define
the
is
of
since
it
linguists
to
notion
correspondence
regularity
value,
allows
the
(see:
method).
Page 302 ! of 462 !
of
regular
comparative
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Each sound change is limited in space and time. This means it functions
within
(within
certain
a
limited
area
dialects)
and
during a limited period of time.
For
these
(and
other)
reasons, the term "sound law" has been
criticized
for
Page 303 ! of 462 !
implying
a
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universality that is unrealistic with regard to sound change.70
Sound change that affects the phonological number
or
phonemes,
system,
in
the
distribution
of
its
is
covered
more
fully
at phonological change71.
70 For example by "[t]he French phoneticians and the Fino-Ugric linguists", according to Anttila, p. 85.
71 https://en.wikipedia.org/wiki/Main_Page
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The following statements are
used as heuristics in formulating sound
changes
as
understood
within the Neogrammarian model. However, linguistics,
for
they
modern
are
not
taken
as inviolable rules; rather, they are seen as guidelines. Sound Sound
change
has
change
no
memory:
does
not
discriminate between the sources
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of a sound. If a previous sound change causes X,Y > Y (features X and
Y
merge
as
Y),
a
new
one
cannot affect only an original X. Sound change ignores grammar: A
sound
change
can
only
have
phonological constraints, like X > Z in unstressed syllables.
For affect
example,
it
adjectives.
Page 306 ! of 462 !
cannot
only
The
only
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exception to this is that a sound change may or may not recognise word
boundaries,
are
not
even
indicated
when
by
they
prosodic
clues. Also,
sound
changes
regularized
in
paradigms
(such
inflection),
in
may
be
inflectional as
which
Page 307 ! of 462 !
verbal case
the
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change is no longer phonological but morphological in nature.72 Sound
change
is
exceptionless: if a sound change can happen at a place, it will.
It meet
affects the
all
criteria
sounds for
that
change.
Apparent exceptions are possible, due
to
analogy
and
other
72 See Hill, Nathan W. (2014) 'Grammatically conditioned sound change.' Language and Linguistics Compass, 8 (6). pp. 211-229.
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regularization
processes,
or
another
change,
an
sound
or
unrecognized conditioning factor.
This is the traditional view, expressed by the Neogrammarians. In past decades it has been shown that
sound
change
does
not
necessarily affect all the words that in principle it could.
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However, when a sound change
is initiated, it often expands to the
whole
time,
lexicon
though
given
not
enough
always.
For
example, in Spanish the fronting of the Vulgar Latin [g] (voiced velar stop) before [i e ɛ] seems to
have
reached
every
word it could.
Page 310 ! of 462 !
possible
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By
contrast,
word-initial
the
Latin
voicing
[k]
to
of
[g]
occurred in colaphus > golpe and cattus > gato, but not in canna > caña. See also lexical diffusion.
Sound
change
is
inevitable:
All languages vary from place to place
and
time
to
time,
and
neither writing nor media prevent this change.
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Change 6 Culture Change
All Cultures 73 are inherently predisposed to change and, at the same time, to resist change. There
are
dynamic
operating
that
acceptance
of
things that
while
processes
encourage
the
new
and
there
encourage
ideas are
others
changeless
stability.
It
likely
that
social
psychological
chaos
and
is
73 https://www2.palomar.edu/anthro/change/change_2.htm
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would
result
if
there
were
not
the conservative forces resisting change. Culture
changes
developments political ideas.
in
beliefs
External
diverse
t h r o u g h 74
technology, and
religious
encounters
societies
with and
environmental factors also change cultural beliefs.
74 https://www.reference.com/?qo=contentPageReferenceLogo
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Cultural
change
sometimes
causes a backlash from those with more traditional social views. The
development
of
the
automobile and internal cultural change
transformed
life,
the
the
methods
organization, geographical
pace
of
labor
and
the
distribution
people and jobs.
Page 314 ! of 462 !
of
of
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The
development
democratic-republican the
British
colonies
ideas
in
during
the
American
Revolution
changes
both
in
of
led
to
government
and
society at large.
Cultural change occurs due to the diffusion of ideas from one society
to
another.
Examples
of
this include the emergence of the
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Buddhist the
religion
in
exportation
of
culture
through
China,
and
American
Hollywood
television and films. Cultural through ideas
change
also
syncretism 75,
from
different
or
occurs when
cultures
mix. This occurred when Catholic saints
were
introduced
to
Meso-
American polytheistic beliefs.
75 https://www.reference.com/?qo=contentPageReferenceLogo
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Acculturation occurs when one
cultural
belief
replaced
entirely
This
occurred
in
system by
is
another.
Scandinavian
societies when local polytheistic traditions
were
replaced
by
Christianity.
Environmental changes lead to significant
cultural
developments. For example, after
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the introduction of the horse by Spanish
settlers,
Americans
of
changed
their
the
Native
Western
Plains
agricultural
society to a horse-based nomadic culture. Climate years,
it
c h a n g e 76 has
been
For
many
known
that
global sea levels are rising. For Heritage
example, Site
the
World
inWillemstad
76 https://www.caribjournal.com/
Page 318 ! of 462 !
in
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Curaçao
in
confront
to
few
years
certain
consequences taken
a
if
unenviable
no
adapt.
will
measures
Other
are
related
issues are trends of hurricanes, extreme
periods
of
dryness,
and
those marked by extreme rainfall. The
United
Nations
for
many
years has been creating awareness on
these
all,
issues.
only
a
Despite
few
Page 319 ! of 462 !
this
islands’
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governments
and
NGOs
are
addressing the critical issue of climate change.
Page 320 ! of 462 !
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Chapter 7 Powerful Cultural Story
Marla Tabaka has espoused the view
that
Entrepreneurs77
face
trust issues every day. When you hire
new
people,
it's
natural
to
for
wonder
example, if
they
will fit into the culture.
Will company
they
commit
mission?
And
77 https://www.inc.com/author/marla-tabaka
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to
your
are
your
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
trade
in
their
hands?Trusting
someone
else's
judgment
and
accuracy
is
battle.
It's
ongoing
secrets
safe
no
an
wonder
many entrepreneurs struggle with letting
go
and
delegating
their
work load.
Certainly,
asking
the
right
questions and doing your research on
prospective
new
Page 322 ! of 462 !
hires
will
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
help
to
mitigate
these
concerns
so that you can build a stellar, trustworthy
team.
be
a
missing
about
trust:
But
you
critical it
is
might
awareness a
two-way
street.
Being the business owner does not automatically entitle you to the
trust
of
your
trust is earned.
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employees;
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
If
you
want
outstanding
results from your team you must journey down this two-way street to build mutual trust.
Tabaka the
expository
criteria
for
The
satisfies Sound
of
Culture becomes an invisible tool and
it
discourse
is
.It
a
culture
is
the
Page 324 ! of 462 !
rare
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
combination
of
a
powerful
and
moving story, because humanity is at work.
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Chapter 8 Films
While films of the 1930s and 40s
were
mainly
furnished
with
orchestral music78, they also drew upon popular songs.
These films, however, made a major two
distinction types
of
between
music:
these
whereas
orchestral music usually provided 78 http://www.filmmusicnotes.com/
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the
non-diegetic
which
accompaniment,
is
not
heard
characters
in
music
popular
by
the
the
film,
sung
was
diegetic
in
that it had its apparent source in
the
fictional
world
of
the
reason
for
this
to
that,
film.
The
distinction
appears
once
voice
the
be
began
Page 327 ! of 462 !
to
be
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
synchronized
with
film,
and
therefore become diegetic, it was always considered to be diegetic, regardless
of
whether
voices
spoke words or sang songs.
Apparently, disembodied
the
voice
idea
of
a
filling
the
soundtrack
was
just
too
unpalatable
the
early
sound
in
era, but later it was to become
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an
important
way
in
which
to
change
film
music is used. This
began
in
the
1950s, and by the late 60s, the popular
song
had
claimed
its
place as a viable alternative to orchestral
music
in
the
non-
diegetic accompaniment. This post explores
some
steps
this
in
of
the
historical
changing
Page 329 ! of 462 !
use
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
popular
songs
in
film
from
diegetic to non-diegetic music.
Popular
Songs
as
Diegetic
Music79 The Jazz Singer (1927) was a
landmark
the
first
sequences
film
because
to
feature
entire
synchronized
sound
of
it
was
with dialogue. Naturally, almost all
of
these
the
main
sequences
involved
character,
Jakie
79 http://www.filmmusicnotes.com/
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Rabinowitz
(Al
Jolson),
jazz,
the
popular
day.
Although
music
jazz
non-diegetically,
singing of
the
does
enter
is
always
it
purely orchestral music. The use of the voice is restricted to the diegetic clip
world.
Here’s
a
short
featuring
Jolson
singing
“Toot Toot Tootsie” (by the way, Jolson’s
words
here,
“Wait
a
minute! Wait a minute! You ain’t
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heard nothin’ yet”, are the first words ever synchronized on film):
Once films80 began to be made with
completely
sound,
the
potential
diegetic
use
grew
thus
and
synchronized for
this
popular
songs
musicals
became
of
quite common in these early years of sound film. One famous example is
The
Broadway
Melody
80 http://www.filmmusicnotes.com/
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(1929),
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
which was the first sound film to win
the
Academy
Award
for
Best
Picture.
But even when films were not musicals, had
popular
their
popular
always
source
clearly
in
the
film’s
world.
All
of
established diegetic
songs
songs
in
the
Casablanca
(1942) for instance are grounded
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in performances we see onscreen. And even though the popular song “As
Time
appears used
Goes as
in
a
By”,
which
diegetic
Max
first
song,
Steiner’s
is
non-
diegetic score, it once again is used
only
orchestrally,
never
vocally. The scene in which Rick first
sees
Ilsa
again
demonstrates this well, as Sam’s diegetic singing and playing give
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way to a non-diegetic orchestral variation of the tune when Rick’s and Ilsa’s eyes meet (watch from 1:20):
High Noon and the Vocal Song as
Non-Diegetic
Music81
Although
not in a popular style, the main title music of High Noon (1952) set
an
important
precedent
later films. 81 http://www.filmmusicnotes.com/
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for
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Sung as a western ballad by
Tex Ritter, Dimitri Tiomkin’s “Do Not Forsake Me Oh My Darling” was used at various points throughout the
film
as
non-diegetic
music.
In this way, it clearly expressed the
psychological
state
of
marshal Will Kane (Gary Cooper). Here’s a clip of the end of the film,
where
the
non-diegetic
song
enters
as
accompaniment
to
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Kane and his wife Amy’s departure from
town
(the
song
enters
at
1:50):
Popular Song as Non-Diegetic Main
Title
Music 82
Blackboard
Jungle (1955) is well known for its
use
Comets’
of
Bill
“Rock
Haley
Around
the
&
His
Clock”
in the main title sequence. This non-diegetic
use
of
82 http://www.filmmusicnotes.com/
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a
popular
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
song
was
groundbreaking
in
film
history as it not only validated rock
‘n’
roll
as
to
the
alternative
a
viable
orchestral
sound (just as Alex North’s score to A Streetcar Named Desire and Elmer
Bernstein’s
for
The
Man
with
the
Arm
did
for
Golden
jazz), but it also used popular song in a way that did not have its
source
in
the
Page 338 ! of 462 !
film’s
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
fictional
world.
however,
the
In
song
this
case,
does
not
reappear in the film proper as it does in High Noon. Even so, its impact was powerful enough for it to be reused as the main title music for George Lucas’ American Graffiti
in
1973,
which
had
an
all-popular soundtrack. View the main titles of Blackboard Jungle below (the song begins at 0:41):
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Popular Song as PerformanceBased
Non-Diegetic
Beatles’
musical
Music 83
comedy
A
The Hard
Day’s Night (1964) uses only the band’s
songs
accompaniment.
In
as
musical
almost
every
case, we see the band performing the
song,
so
the
music
remains
grounded in the film’s world as diegetic music. In one scene, we 83 http://www.filmmusicnotes.com/
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hear
“Can’t
Buy
Me
Love”
while
the
band
enjoys
a
playful
time
outdoors.
A
similar
treatment
of
the
same song occurs again later in the film. Both instances are nondiegetic
uses
and
at
yet
of
the
popular same
song,
time,
as
Buhler,
Neumeyer,
and
Deemer
observe
in
the
Movies,
Hearing
Page 341 ! of 462 !
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“Although music is not simply the product in
A
of
onscreen
Hard
Day’s
presence
of
motivates
the
and
performance Night,
the
Beatles
clearly
also
contains
so
the music.
If ‘Can’t Buy me Love’ offers a kind of nondiegetic commentary on
the
scene,
it
nevertheless
seems that the band is commenting
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on
itself,
character’s
much
voice-over
like
a
narration
might in a dramatic film. There is
in
that
sense
little
separation of the music from the character(s).”
In
this
film,
then,
the
nondiegetic popular music is not completely
independent
of
the
film’s diegesis. It still remains
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grounded by the idea of musical performance,
in
much
the
same
manner as a music video. View the scene here:
251MenloveAvenue
9Popular
Song as Pure Non-Diegetic Music84 The Graduate (1967) is really the film
that
set
the
popular
free
from
its
diegetic
song
use
in
film. In this case, we hear the 84 http://www.filmmusicnotes.com/
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songs of Simon and Garfunkel as non-diegetic
accompaniment
for
Ben (Dustin Hoffmann), especially in scenes that focus in on the character’s face, suggesting that he is lost in thought.
The music now has no source in the diegesis and is present to enhance
our
understanding
Ben’s state of mind.
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of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
This purely non-diegetic use of popular song opened the door for
countless
other
films
that
featured such songs in much the same way, Easy Rider (1969) being a
famous
example
that
followed
only two years later. Here is a well-known Graduate
montage
that
is
set
Sounds of Silence”:
Page 346 ! of 462 !
from
The
to
“The
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chapter 9 Exploiting Puns "The
Sound
of
originally
"The
Silence",
is
a
American
music
S i l e n c e 85 " , Sounds
of
song
by
the
duo
Simon
&
Garfunkel. The song was written by Paul Simon over several months in 1963 and 1964. A studio audition led to the duo signing a record deal
85 https://en.wikipedia.org/wiki/Main_Page
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with
Columbia
Records,
and
the
song was recorded in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M..
The
U.S.
Comptroller
of
the
Currency86 Thomas Curry was also quoted as saying that culture is a “critical component of a sound management team”. 86 https://stratbizcomm.blogspot.com/
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On
reflection
character
87provides
Sound the
power
with which a person may ride the emergencies being
of
life
instead
overwhelmed
by
of
them
according to Og Mandino. Henry that
The
Beston
also
believes
three
great
elemental
sounds88 in nature are the sound
87 https://www.brainyquote.com/authors/og_mandino 88 https://www.brainyquote.com/authors/henry_beston
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of rain, the sound of wind in a primeval wood, and the sound of outer ocean on a beach.
Charlotte underscored 26
Words
the
and
Grainger significance
Phrases
that
of you
sound stupid. A case in point Do you pepper your
sentences89
“literally”?
with
You’re
89 https://www.rd.com/author/sw-38405/
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the
not
word
alone.
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
“I’m
literally
falling
asleep”
sounds stronger than “I’m falling asleep.” just
one
There’s problem 90 .
The
word
“literally” means that something is exact and true, so when you use it metaphorically you run the risk of sounding silly.
Unless your eyes are shutting and
you
are
literally
90 https://www.rd.com/
Page 351 ! of 462 !
falling
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
asleep,
don’t
(Because
if
falling
say
you
asleep,
you
are.
really
are
you
wouldn’t
be
talking or standing or sitting.) What's
the
meaning
of
the
phrase 'Sound bite'91? The
meaning
of
the
phrase
“Sound bite is a short and easily remembered line, intended by the speaker to be suitable for media repetition. 91 https://www.phrases.org.uk/index.html
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The
origin
of
this
phrase
originated in US media circles in the
1980s.
The
first
known
printed citations come from that period;
for
example,
The
Washington Post, June 1980:
Although 'sound bite'92 refers specifically
to
sound
and
suggests quotations suitable for radio
or
newspapers,
92 https://www.phrases.org.uk/index.html
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the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
technique was commonly used in TV news clips. To
make
this
explicit
the
term 'sight bite' was coined to refer directly to video footage. Here's an early example of that from The Los Angeles Times August 1988. "The pacing, the writing, the sound bites and sight bites and just
about
everything
Page 354 ! of 462 !
else
that
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
executive producer Lorne Michaels ...
brought
thudding
to
this
evening
usually
seemed
to
work.93” There
is
an
increasing
awareness94 of the usefulness of theoretically
sound
approaches:
it
opens
for
generalisations
of
results,
it
invites
comparison
93 https://www.phrases.org.uk/index.html 94 https://www.researchgate.net/
Page 355 ! of 462 !
research
between
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
researchers, methods and results, and at the same time it makes the limits of the research visible. S o u n d 95 deadly
is
an
invisible,
weapon
and
a
tool.
95 https://powerlisting.fandom.com/wiki/Sound_Manipulation
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versatile
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chapter 10 Personal Reflections As
an
Author,
Media
Arts
Specialist, Cultural Practitioner Publisher and a Student of film; in this conversation The Sound of Culture
is
a
cultural
with
scope,
theoretical provides cultural especially
discourse
depth,
and
analysis
that
understanding
and
interpretation within
the
Page 357 ! of 462 !
space
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Double entendres since generally rely
on
multiple
words,
or
meanings
of
different
interpretations
of
the
same
primary
In
this
space
meaning.
however The Sound of Culture is allowed to exploit ambiguity and is introduce deliberately in this text as a homophone and This the
Sound
Double of
a pun.
entendres96
Culture
96 https://en.wikipedia.org/wiki/Double_entendre
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has
and arise
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
because
it
has
become
a
conversation and most definitely provide
some
insight
into
any
queries such as Sound change. Sound change 97 is inevitable: All languages vary from place to place neither
and
time
to
time,
and
writing
nor
media
can
prevent this change.
97 https://en.wikipedia.org/wiki/Main_Page
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Chapter 11 Conclusion Reflections In my view of field The Sound of Culture is a Double entendres connoting which
multiple
can
differently
be of
meanings,
interpreted
the
same
primary
meaning. This Culture memories
cliché,
The
Sound
immediately to
some
extent
Page 360 ! of 462 !
of
evoke in
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
minds
of
some
global
citizens’
especially The Sound of Music98. As a student of film I have noticed metaphorically that just as in film that Diegetic vs. NonDiegetic Sound Sound
of
99
Culture
similarly, The occupies
every
cultural space since there are so many
ways to use sound.
98 https://en.wikipedia.org/wiki The_Sound_of_Music_(film) 99 https://collegefilmandmediastudies.com/film-sound-and-music
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The Sound of Culture is use
to help show where, when, drawing attention create
to
important
within
a
things,
designated
atmosphere, it even sets a mood, even
depicting
a
character,
as
well as make someone aware that something is about to happen.
Consequently since The Sound of
Music
the
film
Page 362 ! of 462 !
is
the
rare
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
combination moving and
of
story,
a
powerful
first
breathtaking
rate
and
music,
scenery
of
Salzburg100 Similarly The Sound of Culture of
is
breathtaking
diverse
cultures
scenery
occupying
spaces in the world . Likewise The Sound of Culture encompasses all of these aspects highlighted because culture is a way of life which is performed on 100 https://www.sound-of-music.com/
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the
world
stage
by
global
citizens
This also
a
space
theoretical
cliché,
is
nuance
occupies
a
within
invariably
which
cyberculture
adding
value
to
the
cultural global space.
What when
is
these
equally two
important
constructs
Page 364 ! of 462 !
sound
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
and
culture
intertwined they
are
definitely unique
are
fused
together
inseparable they
or
presumably and
most
will
create
a
fingerprint 101
which
is
digital interface. For example, just there is no music
without
dance
likewise
there
is
sound
without
no
culture.
101 https://researchers.mq.edu.au/en/organisations/department-of-media-music-communicationand-cultural-studies
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In addition, there is no way that
a
conversation
and
there
is
no
can
be
had
mentioned
of
sound since it is an entity. Sound
contains
so
many
different waves and vibrations102, each
with
their
own
specificity
which
delicate
of
skin
the
vibrate. 102 https://www.dkfindout.com/us/science/sound
Page 366 ! of 462 !
varying
make
the
eardrums
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Yet in this context the title of
this
Culture
text is
The
applied
Sound as
a
of
double
entendre (/ɒ ̃ˈtɒ ̃d(rə)/;
French: [dubl ɑ ̃.tɑ ̃dʁ(ə)]). It is a figure of speech because of the
particular
wording
that
is
way
of
devised
Page 367 ! of 462 !
this to
be
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
understood in two ways, having a double meaning.
In
this
space
typically
one
of the meanings is obvious, given the
context,
whereas
the
other
may require more thought.103 Double
entendre
applied
in
this text certainly will exploit
103 "Longman Dictionary of Contemporary English online". Dictionary of Contemporary English. Longman. Archived from the original on 3 September 2014. Retrieved 29 August 2014.
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puns
to
convey
the
second
meaning. For
example,The
Comptroller
of
the
U.S.
Currency 104
Thomas Curry was also quoted as saying
that
culture
“critical
component
of
a
is
a
sound
management team”.
The Sound of Culture relys on multiple
meanings
of
104 https://stratbizcomm.blogspot.com/
Page 369 ! of 462 !
words,
or
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
different interpretations of the same primary meaning. In same
this will
space
is
often
however
the
allowed
to
exploit ambiguity and is used to introduce
it
deliberately
in
a
text as a homophone and a pun.
This Sound
Double of
because
entendres105
Culture
has
it
become
has
105 https://en.wikipedia.org/wiki/Double_entendre
Page 370 ! of 462 !
the
arise a
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
conversation and most definitely provide
some
insight
into
any
Sound
is
queries. The always
clichéd
phrase
changing;
everlasting;
it’s
It’s
nonstop
according to Christine Sun Kim106
Because of the
pervasiveness
of Sound it is always changing;
106 https://fellowsblog.ted.com/?source=post_page---
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It’s
everlasting;
it’s
nonstop
according to Christine Sun Kim107 Wind is also characterized as sound
and
the
said
sound
is
always used in horror movies and on Halloween soundtracks because this howling breeze sends shivers down our spine. The scientific reason is Wind howls
when
passing
it’s
broken
through
107 https://fellowsblog.ted.com/?source=post_page---
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or
up
from
around
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
objects, such as trees. The gust of
air
around
will the
split
tree
up
and
to
move
then
comes
back together on the other side.
Due
to
factors
such
as
the
surface of the tree and the air speed, one side of the wind is going
to
be
stronger
than
the
other when the currents rejoin.
Page 373 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
mixing
of
the
two
currents causes vibrations in the air,
which
produce
that
ghostly
howling noise that gives us the creeps. (But let’s face it: That noise is nothing compared to any of
these
chilling
real
ghost
Therefore this is the
Reason
Howling
Spooky
stories.)
Why
Wind
Is
Page 374 ! of 462 !
So
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
according to Morgan Cutolo108 the Assistant Digital Managing Editor at Reader’s Digest Christine hearing
people,
captured
via
Sun
K i m 109 F o r
information
the
ear,
is
through
sound. But you can look elsewhere and
you
are
still
getting
information. With sign language, you have to be focused on what
108 https://www.rd.com/author/morgancutolo/ 109 https://fellowsblog.ted.com/?source=post_page---
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
you’re
seeing.
Many
things
are
dependent on sound, like Siri on the phone, voice commands.
Page 376 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chapter 12 Conclusion
Although the Sound of Culture is is
a cultural discourse yet it perceived as contemporary .
The
Sound
cultures
in
traditions living
in
Of
Culture
or
general,
their
and
heritage
while
the
age
post-
of
globalization is inexplicable110.
110 https://sonicfield.org/2018/04/defining-tradition-sound-culture-questioningimportance-authenticity/
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
There operating
is
this
within
notion
the
Sound
of
Culture that every culture has in one
way
or
the
other
adopted
different
aspects
of
cultures,
and
slightly
by
other
transforming them, made them part of their own heritage. Japan examples
is
one
of
for
such
a
Page 378 ! of 462 !
the
best
phenomenon,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
since
this
country
already
has
ages worth of history of adopting cultural Asian
elements
countries
from
other
the
west,
and
transforming
foreign
ideas
and
making
part
their
own
them
of
unique heritage.
Given view
of
Maria
Papadomanolaki
field
The
Sound
of
Culture is a cultural discourse.
Page 379 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The
Sound
definitely
of
be
theoretical
Culture
construed
cliché;
It
can as
a
is
a
nuance occupying cyberculture; It also adds value to the
cultural
global space.
The sound of culture has an unique fingerprint111 that is part
111 https://researchers.mq.edu.au/en/organisations/department-of-media-musiccommunication-and-cultural-studies
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
of
the
amalgamation
auditory, components
and that
of
visual,
functional allows
people
see, hear, touch, or talk to as they
interact
with
computers
(digital devices)112in this postglobalization113 space.
This
theoretical
metaphorically
behaves
cliché somewhat
112 https://www.igi-global.com/ 113 https://sonicfield.org/2018/04/defining-tradition-sound-culture-questioningimportance-authenticity/
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like sound ,it contains so many different waves and vibrations114, each
with
their
specificity delicate
own
which
skin
of
varying
makes
the
the
eardrums
vibrate; there cannot be no music without dance; likewise there is no sound without culture.
What Sound
of
is
very
Culture
noticeable has
114 https://www.dkfindout.com/us/science/sound
Page 382 ! of 462 !
The
Synonyms
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
tendencies and evokes memories in the
minds
of
global
citizens’
just like The Sound of Music. In context The Sound of Music is a 1965 American musical drama film produced
and
directed
by
Robert
Wise, and starring Julie Andrews and
Christopher
Plummer,
with
Richard Haydn and Eleanor Parker.
Page 383 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The film is an adaptation of
the
1959
same
name,
Rodgers
stage
musical
composed
with
by
lyrics
Hammerstein II115.
of
the
Richard
by
Oscar
As a student
of film I have noticed that in this film contained Diegetic vs. Non-Diegetic Sound
of
Sound
116
Music.
metaphorically
in
The
115 https://en.wikipedia.org/wiki The_Sound_of_Music_(film) 116 https://collegefilmandmediastudies.com/film-sound-and-music
Page 384 ! of 462 !
in
The
Likewise Sound
of
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Culture
especially
staged
by
global citizens who are cultural practitioners
during
it’s
cultural discourse
Diegetic sound117 is any sound that the character or characters on screen can hear.
A case in
point the sound of one character 117 http://www.filmsound.org/terminology/diegetic.htmSound whose source is neither visible on the screen nor has
been implied to be present in the action: narrator's commentary sound effects which is added for the dramatic effect mood music Non-diegetic sound is represented as coming from the a source outside story space. The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening. We know of that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events. A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy). Another term for non-diegetic sound is commentary sound
Page 385 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
talking
to
another
would
be
diegetic. Non-diegetic
sound
is
any
sound that the audience can hear but
the
characters
cannot.
Any
on
screen
appearance
background
music
a
prime
example
non-diegetic
sound.
This
of
clip
from
is
of
Edgar
Wright’s
Shaun of the Dead simultaneously
Page 386 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
depicts
both
diegetic
and
non-
diegetic sound. The
aforementioned
explanation explains diegetic and non-diegetic
sound
and
how
is
applied since there are so many ways
to
use
sound
even
metaphorically. You
can
use
sound
to
help
show where and when the film is set, draw attention to important
Page 387 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
things,
create
an
atmosphere
or
set a mood, depict a character, warn that something is about to happen. Consequently since The Sound of Music is a film and the
rare
combination
it of
is a
powerful and moving story, first rate
music,
and
breathtaking
scenery of Salzburg118
118 https://www.sound-of-music.com/
Page 388 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Likewise The Sound of Culture
is
a
cultural
discourse
adding
value to the cultural space and it
is
a
way
of
life
which
is
performed on the world stage by global citizens This theoretical cliché, is a fusion
of
two
constructs
sound
and culture intertwined together they
are
inseparable
just
as
there is no music without dance
Page 389 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
likewise
there
is
no
sound
without culture. The like
a
Sound of Culture behaves double
ˈtɒ ̃ d(rə)/
it
is
entendre a
(/ɒ ̃
figure
of
speech because of the particular way it is worded since is devised to
be
understood
in
two
having a double meaning.
Page 390 ! of 462 !
ways,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
The Sound of Culture is given
in
context.
require
more
applied
to
This
cliche
thought119
exploit
may
and
puns
is
hence
conveying the second meaning and different interpretations of the same
primary
ambiguity and
used
introduce
meaning in
this
exploits context
deliberately
as
homophone.
119 "Longman Dictionary of Contemporary English online". Dictionary of Contemporary English. Longman. Archived from the original on 3 September 2014. Retrieved 29 August 2014.
Page 391 ! of 462 !
a
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
It is used interchangeably as
a is
Double a
entendres120
cultural
provides
some
because
discourse insight
it
which
into
any
queries. The clichéd phrase The Sound of Culture metaphorically behaves like
Sound
since
is
always
changing; It’s everlasting; it’s nonstop
For
information
is
hearing
people,
captured
via
120 https://en.wikipedia.org/wiki/Double_entendre
Page 392 ! of 462 !
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
ear,
through
sound
according
to
Christine Sun Kim121
Many things are dependent on sound,
like
Siri
on
the
phone,
voice commands that is why Music and
sound
are
culturally
and
sound
dominant. Music
are
culturally dominant and therefore the
scope,
the
depth,
121 https://fellowsblog.ted.com/?source=post_page---
Page 393 ! of 462 !
and
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
originality
of
this
theoretical
analysis of The Sound of Culture will contribute significantly to the understanding of the cultural interpretation appropriation Culture.
The
and
of
The
Sound
of
the
Sound
of
Culture122
does not make people but People make The Sound Of Culture. Overall, The human influence combined
with
the
pervasiveness
122 https://www.goodreads.com/quotes/tag/culture Chimamanda Ngozi Adichie
Page 394 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
of
C u l t u r a l 123
d e t e r m i n i s m 124
creates The Sound of Culture as a cultural discourse. William Anderson Gittens Author, Dip., Com., Arts. B.A. Media Arts Specialists’ Cinematographer, Cultural The Sound of
Practitioner, Publisher
Culture is A Cultural Discourse
Vol.1ISBN 978-976-96342-7-5
123 Cultural determinism is the belief that the culture in which we are raised determines who we are at emotional and behavioral levels. It contrasts with genetic determinism, the theory that biologically inherited traits and the environmental influences that affect those traits dominate who we are. Yet another way of looking at the concept of cultural determinism is to contrast it with the idea of environmental determinism. The latter is the idea that the physical world- with all its constraints and potentially life-altering elements-is responsible for the make-up of each existing culture. Contrast this with the idea that we (humans) create our own situations through the power of thought, socialization, and all forms of information circulation. It is also used to describe the concept that culture determines economic and political arrangements. It is an idea which has recurred in many cultures over human history, from ancient civilizations through the present. https:// en.wikipedia.org/wiki/Cultural_determinism
124 https://en.wikipedia.org/wiki/Main_Page Cronon 1995
Page 395 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Works Cited
"Cultural Practices in Conflict with Canadian Law". nizkor.org. "Cultural
Practices
in
Conflict
with Canadian Law". nizkor.org. "Earthdance: Indigenous the
Chapter
Way".
original
on
20
-
Archived
The from
2007-09-05.
Retrieved 2007-09-08. "Earthdance: Indigenous
Chapter
Way".
20
Archived
Page 396 ! of 462 !
-
The from
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the
original
on
2007-09-05.
Retrieved 2007-09-08. "Longman
Dictionary
Contemporary
English
Dictionary
of
English.
Longman.
of
online".
Contemporary Archived
from
the original on 3 September 2014. Retrieved 29 August 2014. "Longman
Dictionary
Contemporary
English
Dictionary
of
of
online".
Contemporary
Page 397 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
English.
Longman.
Archived
from
the original on 3 September 2014. Retrieved 29 August 2014. "Longman
Dictionary
Contemporary
English
Dictionary
of
English.
Longman.
of
online".
Contemporary Archived
from
the original on 3 September 2014. Retrieved 29 August 2014. "Longman
Dictionary
Contemporary
English
Page 398 ! of 462 !
of
online".
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Dictionary English.
of
Longman.
Contemporary Archived
from
the original on 3 September 2014. Retrieved 29 August 2014. "United
Nations
Declaration
on
the Rights of Indigenous Peoples" (PDF). Archived from the original (PDF) on 2007-10-11. "oneFish
Community
Directory".
Knowledge
www.onefish.org.
Page 399 ! of 462 !
27
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
September 2011. Archived from the original on 2011-09-27 Robertson,
Roland
(1
January
2003). Roland Robertson; Kathleen E.
White
Culture
(eds.). and
Globalization:
identity.
Taylor
&
Francis. ISBN 9780415236911 – via Google Books. SoundCulture
Archived
at the Wayback Machine
Page 400 ! of 462 !
2008-08-20
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
SoundCulture
Archived
2008-08-20
at the Wayback Machine SoundCulture Constitution h
t
t
p
s
:
/
/
collegefilmandmediastudies.com/ film-sound-and-music https://en.wikipedia.org/wiki The_Sound_of_Music_(film) https://en.wikipedia.org/wiki The_Sound_of_Music_(film)
Page 401 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://en.wikipedia.org/wiki/ Cultural_practice https://en.wikipedia.org/wiki/ Double_entendre https://en.wikipedia.org/wiki/ SoundCulture https://fellowsblog.ted.com/? source=post_page--https://fellowsblog.ted.com/? source=post_page--https://hbr.org/
Page 402 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://powerlisting.fandom.com/ wiki/Sound_Manipulation https://researchers.mq.edu.au/en/ organisations/department-ofmedia-music-communication-andcultural-studies https://sonicfield.org/2018/04/ defining-tradition-sound-culturequestioning-importanceauthenticity/
Page 403 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://sonicfield.org/2018/04/ defining-tradition-sound-culturequestioning-importanceauthenticity/ h
t
t
p
s
:
/
/
stratbizcomm.blogspot.com/ https://theculturetrip.com/ https://www.brainyquote.com/ authors/henry_beston https://www.brainyquote.com/ authors/og_mandino
Page 404 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.brainyquote.com/ authors/og_mandino https://www.britannica.com/ contributor/William-E-Thomson/ 2965 https://www.britannica.com/ contributor/William-E-Thomson/ 2965 https://www.britannica.com/ contributor/William-E-Thomson/ 2965
Page 405 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.britannica.com/ contributor/William-E-Thomson/ 2965 https://www.britannica.com/ contributor/William-E-Thomson/ 2965 https://www.dkfindout.com/us/ science/sound
https://www.facts-are-facts.com/
Page 406 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.goodreads.com/quotes/ tag/culture https://www.goodreads.com/quotes/ tag/culture https://www.hrzone.com/ https://www.igi-global.com/
https://www.ncbi.nlm.nih.gov/pmc/ articles/PMC4667006/ https://www.phrases.org.uk/ index.html
Page 407 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.rd.com/ https://www.rd.com/author/ morgancutolo/ https://www.rd.com/author/ morgancutolo/ https://www.rd.com/author/ morgancutolo/ https://www.rd.com/author/ morgancutolo/
Page 408 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.rd.com/author/ sw-38405/ https://www.researchgate.net/
https://www.sciencelearn.org.nz/ https://www.sound-of-music.com/
https://www.telegraph.co.uk/ h
t
t
p
s
:
www.thefreedictionary.com/
Page 409 ! of 462 !
/
/
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
https://www.theguardian.com/ profile/amyfleming https://www.theguardian.com/ profile/amyfleming
Page 410 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
About the Author William Anderson Gittens
Page 411 ! of !462
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
IDEOLOGY-
Developing
and
growing
context
of
excellence,
professionalism
and
in
quality
the
in
Multimedia Services Married Children
Lisa
Gittens
and
Laron
Gittens 2018
Produced
broadcast
at
an
outside
Wesleyan
Holiness
Church the Barbados District for
Page 412 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Retired
Educator
Mrs.
Shirley
Produced
Multimedia
Smithen 2018
Documentary-Belmont Church
Celebrating
Methodist
180
Years
in
Barbados 2017 Produced Multimedia TrailerCodrington
College
Estate
Committee 2017
Produced
Centennial
Multimedia Documentary & Murals -
Page 413 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Carrington
Wesleyan
Holiness
CEO/Managing
Director
Church 2015
Consultant
Devgro
Media
Arts
Services 2011Project Manager Thorsby EDUCATION: 2004-2006
Post
Masters
work
at
the University of the West Indies Cave Hill Campus Cultural Studies 2002 Management Course BIMAP
Page 414 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
1995 Bachelors of Arts in Media Arts
Jersey
City
University-special pre
and
General
State
concentration
postproduction Education
1992
Diploma
(U.S.A.) 1992
pursued
Production
the at
Diploma the
Video
Barbados
Community College. 1991
Diploma
in
Arts
at
University
the
Communication
Page 415 ! of 462 !
of
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
West
Indies
concentrated public
the
course
primarily
speaking;
upon
Journalism
techniques, Writing and speaking; Audio
and
video
production,
and
the legal aspect of journalism. PROFESSIONAL EXPERIENCE: 2015
CEO
,Managing
Consultant, Devgro
12th
Media
registered
in
Director,
January
2015,
Arts
Services
was
the
Register
of
Page 416 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Business and
a
Names
Member
under
of
No.
Small
Association # 20912
54463
Business
Devgro Media
Arts Services We
will develop and grow in what
we do best in this Global Space in
the
context
of
Excellence,
Professionalism
and
Quality
the
of
Multimedia
production
PowerPoint
Presentations
Anniversaries,
Page 417 ! of 462 !
for
in
-
Birthdays,
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Conference Planning,
Consultancy
Services,
Documentaries,
Funerals,
Graduations,
Publishing
and
Weddings
..
July 4-8 2011
Coordinator
47th
Caribbean
Food
Crops Society Conference Managing
a
budget
$200.000.00
dollars
as
of
BDS.
well
as
managing the logistical aspect of
Page 418 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
the
conference,
information
to
international
delegates, sponsorship,
networking
soliciting coordination
subcommittees,
drafting
12 the
president’s speech, Liaising with the following; Chief
Immigration
requesting
the
waiving
the
Officer of
visas
for international delegates from Haiti,
Page 419 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Chief of
Protocol Officer Ministry
Foreign
Trade
Affairs
regarding
diplomats
and
and
Foreign
seating
specially
of
invited
guests. Ministry
of
Health,
requesting
information of the countries that will
require
vaccinations
facilitate
their
CEO
Grantley
at
at
International
Page 420 ! of 462 !
to
Conference; Adams Airport
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Incorporated for
requesting
Liaison
passes
Officers
Transportation
and
Officers
in
facilitating delegates. The
Commissioner
requesting
Police
of
Police
Officers
to
provide security and to serve on the
Protocol
conference.
Committee
Managed
a
for
the
budget
of
BDS$110,489.91the 21st Conference of
the
World
Organisation
Page 421 ! of 462 !
for
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Animal
Health
(OIE)
Regional
Commission for the Americas held in Barbados November 26-29, 2012 at
two
hundred
thousand
six
and
forty-three
hundred
(BDS$110,489.91)
dollars
Barbados
dollars;
AUTHOR AND PUBLISHER FROM OCTOBER 2000:
Page 422 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
1.13.75
978-976-95731-4-7
2018 2.A
Pluralistic
Cultural
Society
Discourse
ISBN978-976-96337-4-2
A
Vol.1 May
9
2019 3.A
Portrait
Volume
1
of
Civilization
978-976-96220-9-8
Jan 3 2019 4.A r e
There
Protocols
In
Vol.
1
Culture
Page 423 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
ISBN978-1-64570-046-3
&
ISBN978-976-96343-0-5 5.A Singular Island Vol.1 “ISBN 978-976-96337-5-9”.
April
2018 6.A
Slice
of
Culture
978-976-96313-4-2
Vol.1
April
8
2019 7.A
Tribute
To
Culture
978-976-96336-3-6 2019
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Vol.1
April
28
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
8.A n d r o m e d a
Gardens
Vol1
978-976-96294-3-1 2019 9.Are There Myths About Culture ? Vol.1 ISBN978-976-96337-3-5 May 20 2019 10.A r e
There
Rhythms
In
C u l t u r e ? V o l . 1 I S B N 978-976-96343-2-9 11.Barbados
in
Review
Vol.1,
978-976-95731-3-0 Jan 18 2018
Page 425 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
12.Belmont
Methodist
Celebrating
180
Church Vol.1
978-976-96220-8-1 2018 13.Beyond Vol.1
Cultural
ISBN
Boundaries
978-976-96343-6-7
June 7 2019 14.Beyond Cultural
The
Call
Of
Discourse
Duty
A
Volume1
ISBN 978-976-96342-5-1June 23 2019
Page 426 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
15.Bridgetown
Barbados
978-976-96286-2-5
Vol.1
Jan. 2019
16.Building for the Future Vol. 1,
976-8078-30-8 2000
17.Can Culture Be Read Like A Text
?
Vol.1
ISBN
978-976-96336-5-0 Jan. 2019 18.Can with
Human
Rights
Conflict
Long-standing
Cultural
Practices?
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19.A Cultural Discourse Volume1 ISBN 978-976-96342-6-8 20.C a n
Culture
Affect
P o l i t i c s V o l . 1 I S B N 978-976-96343-7-4 21.Carrington
June10 2019
Village
Vol.1
978-976-96286-3-2 Jan. 2019 22.Codrington
College
Vol.1
978-976-96286-6-3 2018 23.C o l o u r
Me
Vol.1,
ISBN976-8079-28-2 2000
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24.C o n d u i t
Vol.1
978-976-96286-8-7
Feb 16
2019 25.Constitution & Culture Vol.1 978-976-96286-7-0 Feb 12 2019 26.C u l t u r a l
Convergence
Vol1ISBN978-976-96337-2-8
May
19 2019 27.Cultures
Evolve
Over
Time
Vol.1ISBN978-976-96337-7-3
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28.Cultural Identity Vol.1 ISBN 978-976-96343-3-6 June 3 2019 29.Digital
Insurgency
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Vol.1
Sept.
24
2018 30.Established in Barbados Vol. 1, 976-8080-24-8 2000 31.Excerpts ISBN
from
Icons
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April
2018
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32.Expressions of Culture Vol.1 ISBN978-976-96337-1-1
May
17
2019 33.Expressions Vol.1
of
a
Century
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17 2018 34.Focus
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2000 35.Global
Images
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
36.G l o b a l
Landmarks
978-976-96220-0-5
Vol.1
(Part
ABC)
Considered
This
Sept. 6, 2018 37.Have
You
Approach?
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Vol.1 Aug.
27
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
39.I m a g e s
of
Barbados
Yesteryear
Vol.
in
2,ISBN
976-8078-30-8 2000 40.I m a g e s
of
Yesteryear
in
volume
1,
Barbados
976-8078-41-3 2000 41.I s
Culture
Inextricably
&
Religion
Linked?
Vol.1
ISBN978-976-96336-9-8
Jan.
2019
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
42.Is
Culture
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Paradox
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Language
Inextricably ISBN
And
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10 2019 44.I s
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of
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The
Jan.
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Technique
Of
C u l t u r e ? V o l . 1 ISBN978-976-96342-0-6June
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51.Is There A Lack of Cultural Criticism
VOL.1
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24
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the
Lens
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And
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scène Correlated Vol.1 56.L a n d
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6
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58.Mediterranean
Memories.Vol.1
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the
Leader
978-976-95731-9-2.
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12
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en
scene
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18
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68.R e p a r a t i o n s Cultural
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29
2019 69.Shades Vol.1
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3 2018 70.Social Psychology of Culture Vol.1978-976-96294-0-0 28 2019
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71.I S B N
978-976-96342-9-9
Sticking To His Cultural Task Vol.1 July 12 2019 72.THE VOL1
CARNEGIE
FREE
LIBRARY
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SpheresVol.
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2
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
75.The
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Children
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18 2018 77.The Classics Of Culture Vol. 1.
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
78.T h e
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Footprints
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
81.T h e
Economic
Culture
History
Vol.1
of
ISBN
978-976-96336-2-9. April 2019 82.The Foreword of Culture Vol. 1
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2019 83.The Green Monkey & Sparrows Vol.1
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84.The Humanity of Culture Vol1 978-976-96294-9-3
Mar.
12
2019 85.The Implications of Culture Vol.1 978-976-96337-9-7 86.T h e
Launch
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April
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
88.The Linkages of Culture Vol. 1
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2019 89.T h e
Optics
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21
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Is A
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ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
93.The
Soul
of
Culture
978-976-96294-8-6
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March
8
2019 94.T h e
Space
They
Occupy
Vol1978-976-96286-4-9 2018 95.The
Space
Turtles
Occupy
Vol. 1978-976-96294-6-2 2019 96.The
Value
of
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978-976-96294-7-9 2019
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Vol1
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
97.Through The Lens of a Media Arts
Specialist
Vol1
ISBN
978-976-96337-7-3 April
2018
98.To Classic Or Not To Classic Vol.1 99.What
978-976-96294-5-5 2018 Cultural
Practitioners
Believe
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April
15
Colour
of
2019 100.W h a t
Is
The
Culture
Page 449 ! of 462 !
Vol.1
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
978-976-96313-2-8
April
3
To
Be
2019 101.W h a t
It
Means
Cultured
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978-976-96313-9-7 2019 102.What’s Vol.1
That
In
Your
Hand
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1st 2018 103.Who/What Holds Your Culture Vol1
978-976-96313-0-4 March
28 2019
Page 450 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
104.Who’s Culture Is It Anyway Vol.1978-976-96220-6-7 15
Oct.
2018
105.Why Vol.1
Artifacts
Of
Culture?
ISBN 978-976-96336-4-3
May 9 2019 106.W h y
Culture
Vol.
1ISBN978-976-96337-8-0 107.Why
Little
England?
Vol.1
978-976-96286-0-1 Jan 30 2019
Page 451 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
108.Why
Document
Culture
Vol1
ISBN978-976-96343-1-2 J u n e 1 2019 Editor In Chief 1992-1994 -Duties included
setting
up
meetings
to
discuss tender proposals. With
prospective
publishing
tenders
firms
of
and
photography firms for selection. Managed a staff of ten students;
Page 452 ! of 462 !
-
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
managed a budget of $35,000.00 to $50,000.00 pages,
in
laying
U.S. out
currency
pages
press
ready. Taking
photographs
of
students
and activities on campus 1992-
1994
Judicial
-Member
Committee
of
the
Jersey
City
State University Duties included listening to student's complaints
Page 453 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
that contravened the institutions 'regulations. 1990
~
1991
Seconded
to
the
Faculty of Education, University of
the
West
Indies
Cave
Hill
Campus. Duties included preparing workshops for CARNEID and UNESCO. Teaching graphic arts, video and still photography to teachers in the Dip Ed Programme and Masters programme Graphic Artist-
Page 454 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
1990
-1991
Ministry Affairs
Technical
of
and
Assistant-
Education, Sports
Audio
Youth Visual
Aids Department. Duties-processing
black
and
white,
film
and
colour
Transparencies
slide,
graphic
arts and illustrations. 1983-1988
1
Artists
of
Police
Force
Official
Composite
The
Barbados
Royal
Duties
Page 455 ! of 462 !
included
-
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
sketching composites of suspects, stolen items jewelry from written information, 1989
–2005
Freelance
Photojournalist
–Caribbean
Broadcasting Corporation Duties field
assignments,
broadcast,
and
football
Jazz
shell
umbra
festival,
photography
Page 456 ! of 462 !
live cup
Arial
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
1978-1979 Supervisor at Barbados Knitting and Spinning 1972-2015 Member of the Barbados Regiment
and
the
Barbados
Boys
Scouts Association HONORS AND AWARDS ➢
Inducted
in
the
Hall
of
Professionals of St.Giles Primary ➢
Recipient
International
of
the
12th
Prestigious
Scout
Award Arco Italy
Page 457 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
➢ Presented to Her Majesty Queen Elizabeth
II
of
England
for
outstanding contributions in the field of art. ➢
Presented
to
His
Governor
General
Springer
for
Excellency Sir
Hugh
outstanding
contributions in the field of art and Scouting in Barbados.
Page 458 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
➢ Received Special accreditation from
Hackney
England
International Art Exhibition. Designer
of
postage
commemorating scouting
in
60
Barbados.
Author
Page 459 ! of 462 !
stamps
years
of
About
the
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Page 460 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
Page 461 ! of 462 !
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1
ISBN 978-976-96342-7-5 The Sound of Culture is a Cultural Discourse Vol.1 Published by Devgro Media Arts Services© 2019
Page 462 ! of 462 !