Book Description
UNDERSTANDING DIGITAL CINEMA: A PROFESSIONAL HANDBOOK is a comprehensive resource on all aspects of finishing, distributing and displaying film digitally. For technical professionals as well as non-technical decision-makers, the book is a detailed exploration of every component of the process, from mastering to theater management.
* An overview of digital cinema system requirements
* Post production work flow
* Color in digital cinema
* The digital cinema mastering process
* Fundamentals of compression
* Security
* Basics of audio
* Digital distribution
* Digital projection technology
* Theater systems
* The international perspective: Views from Europe, Asia and Latin America
* A realistic assessment of the future of digital cinema
With contributions by:
Richard Crudo, President, American Society of Cinematographers
Leon Silverman, Executive Vice President, Laser Pacific Media Corporation
Charles Poynton, Color Scientist
Chris Carey, Senior Vice President, Studio New Technology, The Walt Disney Studios
Bob Lambert, Corporate Senior Vice President New Technology & New Media,
The Walt Disney Company
Bill Kinder, Pixar Animation Studios
Glenn Kennel, DLP Cinema
Peter Symes, Manager, Advanced Technology, Thomson Broadcast & Media Solutions
Robert Schumann, President, Cinea, Inc., A Subsidiary of Dolby Labs
David Gray, Vice President, Production Services, Dolby Laboratories, Inc.
Darcy Antonellis, Executive Vice President, Distribution and Technology Operations
Warner Bros. Technical Operations Inc. and Senior Vice President, Worldwide Anti-Piracy Operations Warner Bros. Entertainment Inc.
Matt Cowan, Principal and Founder, Entertainment Technology Consultants
Loren Nielsen, Principal and Founder, Entertainment Technology Consultants
Michael Karagosian, Partner, Karagosian MacCalla Partners (KMP)
Peter Wilson, Vice President, Display Technologies, Snell and Wilcox Ltd.
Patrick Von Sychowski, Senior Analyst, Screen Digest
Wendy Aylsworth, Vice President of Technology, Warner Bros. Technical Operations Inc.
* Learn how to manage the change and control costs, from a "who's who" list of the leaders in this ground-breaking field
*Walk away from reading this book with an essential understanding of digital cinema today
* Understand the benefits of the transition to digital cinema
Book Description
'World music' emerged as an invention of the West from encounters with other cultures. This book draws readers into a remarkable range of these historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eight chapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. World Music is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments of selected music cultures and regional music histories. The book frequently zooms in on repertoires and musicians - such as Bob Marley, Bartok, and Nusrat Fateh Ali Khan - and attempts to account for world music's growing presence and popularity at the beginning of the twenty-first century.
Customer Reviews:
Musical Globalism or Globalization?.......2007-05-22
Philip V. Bohlman is a professor of musicology and ethnomusicology at the University of Chicago, an institution reknowned for its foundational works in Anthropology and Ethnomusicology. Being the nature of interdisciplinary ethnomusicologgical research, the book covers areas of study including Musicology, Anthropology, Sociology, History, Political Science, Economics and Philosophy.
He begins by expressing the limitations inherant in approaching a global phenomenon with only 150, 4"x7" pages. The reader is consistently reminded of the authors initial disclaimer when reading two paragraphs into an intriguing topic, and finding that it ends there.
Nevertheless, Bohlman presents a myriad of ways of approaching and interpretating the global phenonemon known as "world" music. He focuses on topics including: the history of western musicology and ethnomusicology, music in tradition, music in nationalism, music in diaspora, music in mediation, and music in the era of globalization. He also provides the reader with a nice collection of further readings, references and listening suggestions in the bibliography, organized by chapter.
A constant theme for Bohlman is the notion of "encounter". He attributes that it is within the experience of the encounter that we attribute meaning to the music itself, and to the context in which it is experienced.
He also postulates that there is a concurrent tension in so far as the way we "encounter" world musics, being mediated by global capitalism and market forces. This can potentialy take a traditional music out of context, resulting in an extention of post-colonial cultural hegemony or "cultural imperialism made sonorous" (147). Conversly, it can provide a medium for identity formation, revival, and representation, while potentially bringing people together, fostering empathy and harmony. You make the choice!
Is it musical globalism?
-Is the current manifestation of world music a reflection of a global world, where cultural bridges are being reconciled?
or
Is it musical globalization?
-Is world music a reflection of an economically globalized world, mediated by market forces and economic manipulation?
This is a complex question that Bohlman poses, ever so succinctly, yet all too briefly.
Great introduction for the student, active musician or passive listener.
Anthropological/ Sociological view on World Music.......2004-11-06
The author examines the anthropological, sociological and ethnomusicological aspects of World Music. This is an essential text to the introduction of world music.
VERY ACADEMIC PERSPECTIVES.......2003-03-03
This is a very academic study of the phenomenon of world music. As such it provides interesting theories and also some important facts, but I doubt whether the average world music fan would derive much enjoyment from it. The author includes worldwide music from the folk, art and popular traditions and mentions that it can be sacred, secular or commercial. So far, so good, but with sentences like: "As we encounter world music, therefore, it is important to recognize the need to reckon with different epistemologies and ontologies if we are to understand what world music can mean in its virtually infinite varieties," I nearly fell of my chair laughing. In its defence, the book does include informative albeit short pieces on the 1932 Cairo Congress of Arab Music, the great Egyptian singer Umm Kulthum, Rai music, Leadbelly, Celtic music, the Eurovision Song Contest, Bob Marley, Manu Dibango from Cameroon and the musics of the various diasporas. Two maps are included: The Celtic Fringe in Europe and the Polka Belt in the USA plus there are illustrations, a bibliography, discography and an index. I picked up the book without properly checking the contents - it's great source material if you want to write a dissertation on music from different traditions, but not a text that reflects the rhythms of the rich variety of world music that is becoming more and more available to everybody in our current era of globalisation.
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Popular Music in Theory: An Introduction (Music/Culture)
Keith Negus
Manufacturer: Wesleyan University Press
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On Record: Rock, Pop and the Written Word
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ASIN: 0819563102 |
Book Description
Popular Music in Theory is an original introduction to the key theoretical issues which arise in the study of contemporary popular music. It is organized in a way that shows how popular music is created across a series of relationships that link together industry and audiences, producers and consumers. Starting from the dichotomy between production and consumption which characterizes much work on popular culture, Keith Negus explores the equally significant social processes that intervene between and across the production-consumption divide, and examines how popular music is mediated by technological, cultural, historical, geographical, and political factors. This broad framework provides signposts to various tracks taken by sounds and images, and also highlights distinctive theoretical routes into the study of contemporary popular music. Although intended mainly for students in sociology, media and communication studies, and cultural studies, the book will also give others a deeper understanding of popular music.
Amazon.com
The man who wrote the words to The Fantasticks and several other musicals shares his hard-earned wisdom in a book that's part history, part how-to, with just enough memoir thrown in to give it a unique personality and flavor. Jones (not the pop singer) lays out the rules of writing Broadway-style musicals, illustrated with examples from the great shows, from Oklahoma! on. He then explains how he endeavored to break those rules and advises writers of the new millennium on how they might do the same. Those writers will likely find their shows competing with Jones's Fantasticks, which opened in 1960 and is still going strong.
Book Description
The lyricist/librettist of The Fantasticks, the longest running show in the history of the American theater, takes on a new role as your guide through the magical world of the stage musical.
Customer Reviews:
Do not collaborate before reading this book.......2005-01-11
Tom Jones' MAKING MUSICALS is taken from a series of lectures Jones gave for a class in writing musicals. I found this little book very interesting and full of good advice. Jones doesn't pretend to tell you everything you need to know to write a musical or give specific techniques to write a hit. He's merely passing on what he has learned in his very long career as a writer of musicals. (He started in the 50s writing nightclub revues before hitting paydirt with the American theatre's longevity champ, THE FANTASTICKS, which ran an astounding 42 years.) He gives a brief overview of the history of musical comedy and some basics about getting started on writing your own musical. A lot of this information is available in other books, but what really sets Jones' book apart is the chapter on collaboration. Mr. Jones ought to know a thing or two about collaboration since he and composer Harvey Schmidt had a collaboration that lasted from the 1950s into the 21st Century, when Schmidt chose to retire. Jones tells how to choose a collaborator as well as how to make a good collaboration last. This chapter ought to be mandatory for all aspiring collaborators. (I wish I had read it before my own ill fated attempt at collaboration!) While hardly comprehensive, this is an excellent little book. Four stars.
"Fantastick" book! A must for musical theater fans!.......1999-08-22
Finally, an insider has published a book giving a first hand account of the process of writing a musical. While the first half of the book covers the history of the American Musical very nicely, the second half does a superb job of guiding us through the difficulties in writing a musical.
Tom Jones leads us through what makes a musical, what the difference between lyrics and poetry is in song writing, and makes suggestions regarding how to find a collaborative partner and how to get your work produced.
I consider this to be a required text for anyone considering a collaboration on a musical.
Book Description
This refreshingly current music appreciation text provides a scholarly examination of popular music's roots and history. The organization and the context of the survey reflect its introductory intent and aids the student in gaining an increased awareness of the heritage of popular music: to appreciate its diversity; to perceive the underlying kinship of its many styles; to sense its evolutionary momentum.
Customer Reviews:
Good text on American Pop Music.......2004-12-05
I find this textbook to be very good, especially compared to those in its field.
Starting with a brief introduction, the textbook covers the basics of musical sound (beat, timbre, dynamics) and then touches on the elements and sources of popular music. The book then begins historically with minstrel songs ("Oh Susanna" and the like), Ragtime, the Blues, Jazz, Broadway, Tin Pan Alley, Latin Music, and finally Rock and Jazz Fusion (with a little bit of disco and punk).
What's great about this textbook is that even it is accessible for undergraduate college students and even high schoolers, the material is presented in a scholarly fashion. I've not always found that to be the case when it comes to writings about rock music. You can find a lot of fluff out there.
The textbook also has a companion 5-CD set purchased separately. I feel it is extremely helpful, and the book refers to the recordings ALL THE TIME. It's really necessary. There are some songs referred to where Campbell was unable to get the copyright permission, but he has a Discography list at the back of the book for those interested.
This book gets four stars mainly because it's so light on rock after the sixties. The eighties has very little material, and there is only one hip-hop example (Public Enemy). The book really needs a new edition.
Don't use this book for a course on rock alone, but it works great as a text on popular music.
I've met Dr. Campbell.......2003-02-02
and took his class. I'm pretty sure he even knows me by name. I bought the book, but never read it. I've yet to return the book, so someday in the future, i may read it. But if that book is one tenth as good as his lectures and computer notes were, then i give it my full endoresement.
Fun, entertaining, and informative........1999-09-27
I am a college instructor and have decided to use this book in my History of Popular Music class. I found this book to be very thorough and concise and stays focused on relevant material. I also appreciate the use of historical context when describing a period of music. This book is fun, entertaining, and very informative as it relays the development of our pop music. A must read for music lovers--even if you are not in school!
Excellent coverage of the evolution of music in America.......1999-09-03
The Beat Goes On provides an excellent view of how we got from "Oh, Susanna" to "My Sharonna".The only problems are caused by trying to cover so much material in one book. Anyone who wants to learn why what we listen to sounds they way it does should get this book. Hihgly recommended.
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Popular Music Genres: An Introduction
Stuar Borthwick
Manufacturer: Routledge
ProductGroup: Book
Binding: Paperback
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ASIN: 0415973694 |
Customer Reviews:
Informative yet a great read........2003-02-13
David Kastin is currently my teacher at Stuyvesant Highschool. I have nothing but praise for his book and his teaching abilities. The book is great, earning all 5 stars. It sheds interesting facts while always staying on point. A great read for anyone who is interested in American music.
Customer Reviews:
Very very helpful.......2007-10-02
For someone who already has a good handle on the basic rules, this book moves on and teaches some basic moves and tactics. I found it quite helpful and would recommend it if Chess is not the most importnat thing in your life.
ok.......2007-08-23
The book is hard to navigate through when you want to learn a solution to the problem.
Be Honest..........2007-06-07
This book contains 300 simple tactical puzzles. The solution to each puzzle is only one move long. For the great majority of these puzzles (297 out of the 300) there is only one correct idea, which is given in a separate solution section. Solutions are accompanied by the name of the tactic used as well as a short verbal explanation of the situation. Not only do the puzzles involve single move tactics, there are fewer than ten pieces on the board in each position. This should help those new to the game see the main idea and not "miss the forest for the trees".
Problems are not grouped thematically. The 300 problems are divided into thirty tests, with each test containing ten problems. Many themes are represented in each test. Some recurring ideas include pins, piling up on pinned pieces, forks, skewers, checkmates, discovered attacks, and en prise captures.
Many players might feel the positions given in this book are too easy, especially since en prise captures are included. The problems may be easy, but practicing these simple motifs builds "chess vision". Also, novice players often miss these moves in games. The tactics in this book are things players need to spot without thinking. The only way to get to this stage is practice.
Look at some of your recent games and be honest with yourself. Did you lose any of these games because you hung a piece? Did you lose an exchange to a pin or a knight fork? Did you opponent blunder, only to escape punishment because you couldn't spot the chance to win material? If your answer was yes to any of these, seriously consider purchasing this book. More importantly, thoughtfully work through all the problems at least three times.
Simple and Not overwhelming book on basic chess tactics for the advanced-beginner.......2006-11-28
If you are past the stage of having learned the basic rules of chess then you are ready to enbark of the adventure of learning chess strategy. And, what is most likely to result in wins and losses for an advanced beginner is not having a deep knowledge of openings or endgames, but TACTICS!
If you were thinking of getting one of those 5,000 combination and tactics books you should hold off because you will be overwhelmed with a lot of postions that are not likely to come up in your games. Getting a book on basic chess tactics, containing the likely tactics you are going to see in play is most useful. Now there are a variety of ways and books to accomplish this. "Beginning Chess: Over 300 Elementary Problems" is a good starting place. Then you might consider one of the dozens of more complicated tactics books (such as "Winning Chess Tactis") or even a book containing opening tactics by getting an opening trap book (such as "Winning Chess Traps for Juniors" or "101 Opening Traps"). This is one of Mr. Pandolfini's best books.
Modest Book on Tactics for the Beginner or just slightly above.......2006-05-11
BEGINNING CHESS contains a fair number of the types of positions with simple tactical themes that the "just beyond" the very beginning stage player should learn. Not a lot but not a bad bang for the buck! There really isn't a lot of material here (i.e. like Reinfeld's 1001 Winning Chess Sacrifices and Combinations or Winning Chess Traps), but it is just enough to make a satisfactory book worthy for the "advanced beginner". Not at the top of my list, but still a worthwhile work.
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Opera Mediagraphy: Video Recordings and Motion Pictures (Music Reference Collection)
Manufacturer: Greenwood Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0313284903 |
Book Description
Opera Mediagraphy lists operas released as motion pictures, both as theatrical feature films on 35mm film and educational films on 16mm film and videorecordings, including the VHS videotape format and optical video laser disc, though restricted to those that have been released in the United States in the American television standard video called NTSC (National Television Standards Committee). In addition to all possible information available concerning each opera, citations to reviews are included from over twenty-two sources ranging from opera journals to video review periodicals to general publications. Each review is given a rating based on the mediagrapher's reading and interpretation of the reviewer's intent. This scholarly listing will be of interest to academic and public libraries as well as to individual opera fans.
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Opera Singers in Recital, Concert, and Feature Film: A Mediagraphy (Music Reference Collection)
Manufacturer: Greenwood Press
ProductGroup: Book
Binding: Hardcover
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ASIN: 0313295921 |
Book Description
Videos featuring opera singers were initially released in the mid 1980s. This companion volume to Opera Mediagraphy: Video Recordings and Motion Pictures (Greenwood, 1993) indexes opera singers on video and film in concert, recital, and non-operatic feature film and includes VHS videotape, optical video laser disc, CD-ROM, and DVD recordings. Liturgical works, such as masses, and symphonies are also included. Arranged alphabetically, each film entry includes a rating, cites reviews, includes film production information, and lists the film's contents and performers. Films and singers are cross-referenced throughout. Researchers and opera fans alike will appreciate the various features that make this work easy to reference. The alphabetical entries are supplemented by three separate indexes that cross reference data by conductor and pianist, by director and producer, and by production type. An appendix lists distributors and provides available address information including e-mail and website locations.
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Opera Mediagraphy: Video Recordings and Motion Pictures.: An article from: Notes
Cheryl Taranto
Manufacturer: Music Library Association, Inc.
ProductGroup: Book
Binding: Digital
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ASIN: B00093QS72
Release Date: 2005-07-28 |
Book Description
This digital document is an article from Notes, published by Music Library Association, Inc. on September 1, 1995. The length of the article is 658 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Opera Mediagraphy: Video Recordings and Motion Pictures.
Author: Cheryl Taranto
Publication:
Notes (Refereed)
Date: September 1, 1995
Publisher: Music Library Association, Inc.
Volume: v52
Issue: n1
Page: p81(2)
Article Type: Book Review
Distributed by Thomson Gale
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