... recorded music radio audio formats ...

... recorded music radio audio formats ...

... recorded music vinyl records jazz audio formats ...

... recorded music vinyl records jazz audio formats ...

... Track three is concerned with the comparison between different audio formats. Enumerating the specific pros and cons of the various means of playback—magnetic tape, vinyl, CD, MP3, streaming—the author professes a flexible sense of affinity, depending on what the music and playback circumstance...

... Track three is concerned with the comparison between different audio formats. Enumerating the specific pros and cons of the various means of playback—magnetic tape, vinyl, CD, MP3, streaming—the author professes a flexible sense of affinity, depending on what the music and playback circumstance...

..., as opposed to the ephemerality of digital formats. A short personal recounting of the author’s involvement in reissuing vinyl on CD follows, ending with a section in which nine explanations of the resurgence of vinyl are offered. recorded music vinyl records jazz audio formats ...

..., as opposed to the ephemerality of digital formats. A short personal recounting of the author’s involvement in reissuing vinyl on CD follows, ending with a section in which nine explanations of the resurgence of vinyl are offered. recorded music vinyl records jazz audio formats ...

... This chapter explores the 1947 Partition of British India through a critique of its recent oral-archival formations and its construction as an historical ‘event’. This critique includes reflections on my audio research series Partitioned Listening (2020–2022), which invoke the complexity...

... through a critique of its recent oral-archival formations and its construction as an historical ‘event’. This critique includes reflections on my audio research series Partitioned Listening (2020–2022), which invoke the complexity and reciprocity of speech, listening, silence, poetry and testimony...

... Chapter 2 investigates the jazz industry’s transition to the LP format through the activities of Prestige Records, Bob Weinstock (the label’s owner), and the musicians that this independent label employed. This chapter attends to the commercial infrastructures of the jazz record business through...

... that this “old” media, particularly in the rich transmedia landscape of Bangtan Universe and K-Pop in general, produces new ways of experiencing the audio and visual experiences of the songs and videos, which further enrich the fans’ engagement and memory of the original material. graphic lyric books...