How do you pronounce biopic, synod, and Breughel? - and why? Do our cake and archaic sound the same? Where does the stress go in stalagmite? What's odd about the word epergne? Pontcysyllte is obviously Welsh, but Penge is Welsh too! How cool is Caol in the Highlands of Scotland? What can Wesley's hymns tell us about sound change in English? How do people pronounce Wrocław in Poland? How can anyone manage to say Gdynia as just two syllables? Why is the village of Frith in the island of Montserrat usually pronounced as if spelt Frits? What embarrassing faux pas in English did a Russian conglomerate make? Should I bild a cubbard instead of building a cupboard? How should we capitalize an exclamation mark, and why might we need to? What's a depressor consonant? As a finale, the author writes a letter to his 16-year-old self.
A New York Times Bestseller! We know there are certain things we must have to survive--food, shelter, and safety to name a few. But there are also aspects of life that truly allow us to be joyful and fulfilled. For popular podcaster and bestselling author Annie F. Downs, fun is close to the top of that list. Few would argue that having fun doesn't enrich our lives, but so much gets in the way of prioritizing it. Tough days, busyness, and feelings that are hard to talk about keep us from the fun that's out there waiting to be found. With That Sounds Fun, Annie offers an irresistible invitation to understand the meaning of fun, to embrace it and chase it, and to figure out what, exactly, sounds fun to you--then do it! Exploring some research and sharing some thoughts behind why fun matters, she shows you how to find, experience, and multiply your fun. With her signature storytelling style and whimsical vulnerability, Annie is the friend we all need to guide us back to staying true to ourselves and finding the fun we need.
"A lucid and passionate case for a more mindful way of listening to and engaging with musical, natural, and manmade sounds." —New York Times In this tour of the world’s most unexpected sounds, Trevor Cox—the “David Attenborough of the acoustic realm” (Observer)—discovers the world’s longest echo in a hidden oil cavern in Scotland, unlocks the secret of singing sand dunes in California, and alerts us to the aural gems that exist everywhere in between. Using the world’s most amazing acoustic phenomena to reveal how sound works in everyday life, The Sound Book inspires us to become better listeners in a world dominated by the visual and to open our ears to the glorious cacophony all around us.
A practitioner's guide to the basic principles of creating sound effects using easily accessed free software. Designing Sound teaches students and professional sound designers to understand and create sound effects starting from nothing. Its thesis is that any sound can be generated from first principles, guided by analysis and synthesis. The text takes a practitioner's perspective, exploring the basic principles of making ordinary, everyday sounds using an easily accessed free software. Readers use the Pure Data (Pd) language to construct sound objects, which are more flexible and useful than recordings. Sound is considered as a process, rather than as data—an approach sometimes known as “procedural audio.” Procedural sound is a living sound effect that can run as computer code and be changed in real time according to unpredictable events. Applications include video games, film, animation, and media in which sound is part of an interactive process. The book takes a practical, systematic approach to the subject, teaching by example and providing background information that offers a firm theoretical context for its pragmatic stance. [Many of the examples follow a pattern, beginning with a discussion of the nature and physics of a sound, proceeding through the development of models and the implementation of examples, to the final step of producing a Pure Data program for the desired sound. Different synthesis methods are discussed, analyzed, and refined throughout.] After mastering the techniques presented in Designing Sound, students will be able to build their own sound objects for use in interactive applications and other projects
The distinguished RAF commander recounts his life of service and adventure from WWII to the Royal Household and encounters with unexplained phenomena. A decorated war hero and longtime associate of the Royal Family, Sir Peter Horsley led a uniquely fascinating life. In Sounds from Another Room, he chronicles the many formative—and transformative—experiences that shaped it. Horsley joined the Royal Air Force shortly after the outbreak of World War II. Shot down over the English Channel during the Normandy invasion, he not only survived but continued to serve in the RAF throughout the war and for decades afterward. Horsley also spent seven years as equerry to His Royal Highness Prince Philip. It was at Philip’s request that Horsley investigated numerous UFO sightings. He offers a candid account of that work, including a mysterious encounter with a Mr. Janus, who exhibited telepathic abilities and an intimate knowledge of extraterrestrial life.
Did you know that in German, a pig doesn’t say oink, it says gruntz, and when you sneeze in Japanese it’s hakushon, not achoo? With vibrant comics and fun facts, Sounds All Around will teach you interesting and funny onomatopoeias from all over the world! Words that imitate sounds are known as onomatopoeia, and they are a wonderfully strange and interesting part of language. After all, we all hear the same sounds, but we interpret and write them differently in different languages. Sounds All Around is a fun and funny illustrated guide to how people say many of these sounds all around the globe. Inside you’ll learn what a cat sounds like in French, what a yawn sounds like in Norwegian, what a bell sounds like in Hindi, and much, much more!
An award-winning visual tour of the world of sound. Intriguing, informative, and endlessly fascinating, a book that makes visible that which we otherwise only hear and feel as vibrations: SOUND. Award-winning authors and artists Romana Romanyshyn and Andriy Lesiv achieve a remarkable fusion of the scientific exploration of the phenomenon of sound with a philosophic reflection on its nature that will appeal to inquisitive children looking to learn more about science and nature. A stunning sequence of rich infographics provoke the reader to listen . . . learn . . . and think. Whether it's hearing noise, music, speech . . . or silence, no one will come away from these pages without experiencing sound with new ears and a fresh understanding. • Stunning visual sophistication and compelling infographics will appeal to adults as well as children. • A perfect book for educators to share with children interested in STEM topics • A fascinating overlooked topic that will help children explore complex ideas about science and the natural world Translated into over 20 languages! Winner of the Bologna Ragazzi Award for best nonfiction book of the year. The award-winning, visually stunning Sound will appeal to young readers who enjoyed Animalium, Botanicum, Eye to Eye: How Animals See the World, and Human Body: A Visual Encyclopedia. • Science books for kids ages 8–12 • Biology books for kids • Human physiology books for kids The accessible, kid-friendly visuals throughout Sound help children to connect with STEM topics and learn surprising and interesting facts about one of our most important senses. The husband and wife team Romana Romanyshyn and Andriy Lesiv, share an art studio, AGRAFKA, in Lviv, Ukraine. Sound, together with its companion Sight (coming Fall 2020) were the co-winners of the Bologna Ragazzi Award in 2018. Visit them at agrafkastudio.myportfolio.com.
What if history had a sound track? What would it tell us about ourselves? Based on a thirty-part BBC Radio series and podcast, Noise explores the human dramas that have revolved around sound at various points in the last 100,000 years, allowing us to think in fresh ways about the meaning of our collective past. Though we might see ourselves inhabiting a visual world, our lives have always been hugely influenced by our need to hear and be heard. To tell the story of sound—music and speech, but also echoes, chanting, drumbeats, bells, thunder, gunfire, the noise of crowds, the rumbles of the human body, laughter, silence, conversations, mechanical sounds, noisy neighbors, musical recordings, and radio—is to explain how we learned to overcome our fears about the natural world, perhaps even to control it; how we learned to communicate with, understand, and live alongside our fellow beings; how we've fought with one another for dominance; how we've sought to find privacy in an increasingly noisy world; and how we've struggled with our emotions and our sanity. Oratory in ancient Rome was important not just for the words spoken but for the sounds made—the tone, the cadence, the pitch of the voice—how that voice might have been transformed by the environment in which it was heard and how the audience might have responded to it. For the Native American tribes first encountering the European colonists, to lose one's voice was to lose oneself. In order to dominate the Native Americans, European colonists went to great effort to silence them, to replace their "demonic" "roars" with the more familiar "bugles, speaking trumpets, and gongs." Breaking up the history of sound into prehistoric noise, the age of oratory, the sounds of religion, the sounds of power and revolt, the rise of machines, and what he calls our "amplified age," Hendy teases out continuities and breaches in our long relationship with sound in order to bring new meaning to the human story.
Forging new ideas about the relationship between race and sound, Furlonge explores how black artists--including well-known figures such as writers Ralph Ellison and Zora Neale Hurston, and singers Bettye LaVette and Aretha Franklin, among others--imagine listening. Drawing from a multimedia archive, Furlonge examines how many of the texts call on readers to "listen in print." In the process, she gives us a new way to read and interpret these canonical, aurally inflected texts, and demonstrates how listening allows us to engage with the sonic lives of difference as readers, thinkers, and citizens.
