Sonic identity and audio branding elements in Spanish radio advertising

The emotional potential of sound is an excellent resource for companies and institutions seeking to test new ways of communicating with their stakeholders through the senses. However, there are still few organizations that include sound as a conveyer of their corporate identity. Audio branding aims to expand the contact points with audiences by incorporating sound elements that facilitate the recognition of the brand's values. This research attempts to understand the use that corporations make of sound as a communication tool and to evaluate its presence, but above all it wants to find out if this use is due to a strategic approach or if it is a specific decision marked by the temporality of advertising campaigns. For this reason, in this paper we have taken the radio as an advertising media. On the one hand, because it is the sound media par excellence. On the other hand, because it is where we can find the most well-known modes of audio branding such as the brand song, the jingle or the sonotype. The sample, composed of 239 inserts from the 3 generalist radio channels with the highest audiences in Spain, reveals that only 21% of items contain an element of audio branding, indicating that this is a field yet to be explored by organizations.

Sistem Pendukung Keputusan Menentukan Media Yang Tepat Untuk Pembelajaran Secara Online Di SMP Negeri 1 Alasa Talumuzoi Menggunakan Metode AHP

In the world of education, we really need media as a means of interaction between teachers and students to convey information messages in teaching both in the form of written media, image media, sound media, video media, and print media. With the media, students are easier to understand and understand the meaning of the lessons given. The criteria data for the application of the Analytical Hierarchy Process (AHP) method include Ease of Access, Internet Quota Usage, Audio and Visual Interaction, User Limit Capacity, and Access Time Limit. Alternative data for the application of the Analytical Hierarchy Process (AHP) method includes 5 online media, namely Google Classroom, Edmodo Application, Zoom Meeting, Cisco Webex, and Moodle Application. The ranking results on the alternative obtained rank 1, namely Google Classroom Value = 0.4139. The system is designed web-based using PHP and MySQL.

Where Is This Now, Now?: Gertrude Stein's Literary Innovations and New Sound Media

This article addresses the largely unexplored relationship between Stein's literary innovations and the new sound media of her time. By examining these connections, this article looks at Stein's compositional techniques—in particular her concept of the continuous present and her lifelong interest in speech and dialogue—to examine how new media technologies intersected with her attempt to change the way writing was written, read, and heard. By focusing on sound, and looking specifically at her final work Brewsie and Willie (1946), this article reads Stein's innovative poetics against the backdrop of concurrent changes to audio technologies during her career. Finally, the article argues that by paying attention to the ongoing shifts in media ecologies in relation to modernist innovations, we might gain insight into the larger phenomenological and sensorial sphere that formed the backdrop to modernism.

Vocal Arrangements: Technology, Aurality, and Authority in Qur'anic Recording

This article uses ethnography of a studio recording project underway at a Qur'anic school in Salé, Morocco, to offer new insight on sound, media, and religious authority in Islamic contexts. The aim of the project is to record the entire Qur'an incorporating all of its seven canonical, variant readings (qirā’āt), which are enjoying a small renaissance in Morocco. Several of the school's faculty, known as shaykhs, engaged as expert listeners and overseers of the process. I show how a historical model of such expert listenership, which I call “aural authority,” is transformed by the technologies of the studio and then dispersed across a collective of productive agents that includes the reciter and the sound engineer. I argue that these transformations, along with erasure of the shaykh's role from the medium of circulation—the recording—presents significant challenges to the broader qirā’āt tradition and raises questions about its future.

The Myth of Perfect Fidelity

Chapter 1 gives a brief history of the noise of sound media from the late nineteenth to the late twentieth century, tracing the development of different concepts of noise in dialogue with and reaction to ever more complex and sophisticated technologies. It explores the many ways in which inventors, engineers, producers, and musicians have sought to prevent, reduce, and eliminate this noise. The chapter thereby draws the contours of a myth of perfect fidelity or the idea that reproduced sound can in principle be separated from the noise of the medium and complete similitude between original and copy can be achieved. This myth is illustrated by two examples of noise-related technologies: Dolby analog noise reduction, which actively reduces the noise of sound media, and the counterintuitive practice of “dithering” in digital recording, by means of which small amounts of random noise are introduced to reduce digitization errors.

Time and Transience

Chapter 4 develops a detailed conceptual analysis of the interrelation between noise and time, to better grasp what it would mean to replace the myth of perfect fidelity with the idea of a noise resonance of sound media. It does so on the basis of a more philosophical reading of the contrast between ideal filters, exemplified by the timeless figure of the sine wave, and the inherently temporal nature of all technological filters. The chapter thereby shows that, contrary to the timeless clarity and purity assumed by the myth of perfect fidelity, the noise resonance of sound media acknowledges the inherently temporal nature of technological operations and the inevitable introduction of noise. As it shapes all recorded sound and music, noise thereby defines the listener’s experience of the multilayered temporality of technologically reproduced sound, emphasizing both its inherent pastness and its continuous flow through the present.

Conclusion

The conclusion takes stock of the way in which the media technological sound of the “other music” makes sense to human listeners. This music, it is argued, appeals to listeners not despite but precisely because of the way in which it is shaped by the noise of sound media: by all the disturbances, distortions, and interferences added by the transmission channels through which it travels. The book therefore closes with a brief exploration of the “other music,” using the music of Venezuelan electronic musician Arca as its final example. The fluidity and openness of her noisy, unpredictable music exemplifies the continuous trade-off between control and contingency that defines the operations of technical media. It is a fitting example of the way in which the noise of sound media, produced on the basis of the logic of filtering, is key to the continuous back-and-forth, or noise resonance, between music and listener.

Introduction

The introduction discusses the tightly interwoven relation between noise, sound, and media and explains why studying the noise of sound media from a media theoretical perspective offers novel ways to rethink the “sound” specific to sound media. After briefly assessing some relevant recent literature, it describes three distinct but historically interrelated concepts of noise: the sonic, physical, and communicational concepts that developed in the context of, respectively, sound and music, physics and engineering, and information and communication theory. By subsequently introducing the book’s main concepts—the myth of perfect fidelity, the logic of noise reduction, the noise resonance of sound media, and the logic of filtering—the introduction explains how a media archaeology analysis of noise can enrich the understanding of the ways in which sound technologies over the past one hundred forty years have shaped the sound of music.

The Logic of Filtering

This book traces the profound impact of technical media on the sound of music, asking: How do media technologies shape sound? How does this affect music? And how did it change what we listen for in music? Based on the information theoretical proposition that all transmission channels introduce noise and distortion, the argument accounts for the fact that technologically reproduced music is inherently shaped by the technologies that enable its reproduction. The media archaeological assessment of this noise of sound media developed in the book draws from a wide range of sources, both theoretical and historical, conceptual and technical. Together, they show that noise should not be understood as unwanted by-effect but instead plays a foundational role in shaping the sonic contours of technologically reproduced music. Over the course of five chapters, the book sketches a broad history of the problem of noise in sound recording, looks at specific analog and digital noise-related technologies, traces the ideal of sonic purity back to key developments in nineteenth-century acoustics, and develops an analysis of the close interrelation between noise and the temporality of sound. This relation, it argues, is central to the way in which recorded sound and music resonate with listeners. Ultimately, this media-specific analysis of the noise of sound media thereby greatly enriches our understanding of the way in which they changed and continue to change the sonorous qualities of music, thus offering a new perspective on the interaction between music, media, and listeners.