Download Sound and Music for the Theatre, Third Edition: The Art & by Deena C. Kaye PDF

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The 1990s saw the reel-to-reel tape deck replaced by compact discs, MiniDiscs, DATs, and samplers as the sound designer’s playback device of choice. As the cost of computers and digital sound equipment came down, more and more sound designers gained access to this technology’s superior ability to store, manipulate, and reproduce sound and music. Computer-assisted playback systems designed especially for the theatre have become more commonplace, almost as prevalent as those for lighting. Digital audio workstations not only are utilized to manufacture cues, but also have become a staple at almost every tech table.

For example, suppose you’re designing sound for The Haunting of Hill House, a play somewhat in the tradition of a Gothic horror story. Instead of using music that is conventionally scary, you could juxtapose the obvious element of horror with a piece THE FOUNDATION OF SOUND DESIGN of music that connotes innocence, perhaps a music box playing a child’s nursery rhyme. Because the storyline includes the haunting of the house by a child, you could insert a random line of the nursery rhyme in a child’s singsong voice.

Realize that the door would be made of different materials than if the scene takes place at a rural villa in present-day South Africa. SOUND AND MUSIC FOR THE THEATRE THEATRICAL FORMS/STYLES OF SOUND DESIGN When designing sound and music for a production, you must decide whether to lean toward a more realistic or more stylistic approach. Both of these theatrical forms have their extremes. For a realistic production, a sound design can be involved and cinematic, or it can be selective and representational.

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