Bibliographie

NB. Entre crochets les initiales de la personne qui possède le fichier.

Note: certaines informations sont redondantes mais nécessaires à la mise en évidence des différents thèmes traités à l'intérieur des références.

Textes différents

* Laura Zattra, Nicolas Donin (2016), “A questionnaire-based investigation of the skills and roles of Computer Music Designers”, 

Musicae Scientiae, Special Issue Traking the creative process in music, September 2016, vol. 20 no. 3, pp. 436-456. download

* Fabrizio Boldrini, Maria Rita Bracchini, Silvia Fanti CSVM, "State of the Art and Mapping of Competences Report

[subtitle] Defining Sector Skill Shortages and ECVET Strategy. WP: Defining Sector Skill Shortages and ECVET Strategy", 2014, Final Synthesis Report: 04.09.2015. download

Etude des compétences nécessaires dans la Creative Economy en Italie, Grèce et Espagne.

Définition de SD

* Frank Pecquet (2017), "Du design sonore", download

* [FP] PECQUET_Du_design_sonore_au _design_musical

* [FP] PECQUET-creation&design_sonore

* [FP] PECQUET_BS_DesignSonore_art-du design sonore - Grèce 2016

* Misdariis Nicolas - Cera Andrea (2017), "Knowledge in Sound Design - The Silent Electric Vehicle —A Relevant Case Study" 

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM 2017, Edited by Miguel Bruns Alonso and Elif Ozcan, ISBN 978-953-51-3588-3, Print ISBN 978-953-51-3587-6, pp. 185-195, download.

* Cross, Nigel (2001). Designerly ways of knowing - design discipline versus design science. 

Design Issues, 17(3) pp. 49–55 Download

* Cross, Nigel (2007). Designerly ways of knowing. Springer Science & Business Media. 

The book traces the development of Cross' personal research programme over a period of many years. The author have brought together a selected series of reports (lectures, conference presentations and journal papers; empirical, laboratory-based work, but also theoretical reflection), trying to trace a coherent thread, and to lay out some of the network of arguments and evidence referred to the new concept of ‘designerly ways of knowing’ (the nature of design activity, design behaviour and design cognition). The goal has been to understand how designers think, or the nature of design expertise, trying to establish its particular strengths and weaknesses, and giving credit where it might be due for design cognition as an essential aspect of human intelligence.

* Anderson Laura (2015), "Film Sound Design" http://www.oxfordbibliographies.com/ Blog Post

Textes, Articles, Livres Techniques

* Farnell, Andy. Designing Sound. Cambridge, MA, MIT, 2010. 

The text encompasses theoretical information about physics, acoustics, and psychoacoustics. Presents a sound design model supported by physical, mathematical, and psychological knowledge. Recommends use of Pure Data software and provides practical information and examples [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Wyatt, Hilary, and Tim Amyes. Audio Post Production for Television and Film - An Introduction to Technology and Techniques. 3d ed. Oxford, Focal Press, 2005. 

Guide to professional editing. It is divided into two sections: the first deals with basic technology behind audio post-production, whereas the second traces the post-production processes from recording to exhibition. Chapter ten focuses on digital audio workstations [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Holman, Tomlinson. Sound for Film and Television. 2d ed. Burlington, MA, Elsevier, 2002. 

Outlines principles behind sound, including the physics of sound production and reception, and details the processes behind sound creation and recording through post-production to the exhibition stage. The book is divided into levels of varying depth so that readers can select the material most relevant to them [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Rose, Jay. Audio Postproduction for Film and Video. 2d ed. Burlington, MA, Elsevier, 2008. 

Aimed at both students and professionals. Includes accessible instructions as well as information on problem solving. Outlines basics of digital sound, setting up a post-production workspace, handling elements of the soundtrack, and shaping the outcome. Includes “cookbooks”: instructions for common operations and a CD of tutorials and examples [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Sonnenschein, David. Sound Design - The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City, CA, Michael Wiese, 2002. 

Useful for learning about creative and practical processes of film sound design. Focuses on narrative aspects of sound and provides step-by-step advice on how to approach designing sound for a film including what to “listen” for when reading scripts, how to construct a sound map as an aid, and what is involved in post-production [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

Design sonore, cinéma et TV

* William Whittington, Sound Design and Science Fiction, University of Texas Press, 2007, 288 pages download 

This book considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. The author focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games-milestones of the entertainment industry's technological and aesthetic advancements with sound.

* Gibbs, Tony. The Fundamentals of Sonic Art and Sound Design. Lausanne, Switzerland, AVA, 2007. 

Offers a broad overview of the history of sonic art and provides focus on key points in the history of film sound design, such as developments in technology and links to musique concrète and electronic music. The text is interspersed with helpful timelines, color photographs, and illustrations [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Holman, Tomlinson. Sound for Film and Television. 2d ed. Burlington, MA, Elsevier, 2002. 

Outlines principles behind sound, including the physics of sound production and reception, and details the processes behind sound creation and recording through post-production to the exhibition stage. The book is divided into levels of varying depth so that readers can select the material most relevant to them [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Kaye, Deena, and James LeBrecht. Sound and Music for the Theatre. 3d ed. Boston, Focal Press, 2009. 

Although focused on theatre, much of this book is relevant for film, particularly the emphasis on the artistic aspects of sound design. The text offers advice on how to be creative with sound in planning a design and considers closely how variations of the elements in sound design can have an impact on an audience [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Sonnenschein, David. Sound Design - The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City, CA, Michael Wiese, 2002. 

Useful for learning about creative and practical processes of film sound design. Focuses on narrative aspects of sound and provides step-by-step advice on how to approach designing sound for a film including what to “listen” for when reading scripts, how to construct a sound map as an aid, and what is involved in post-production [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Yewdall, David Lewis. Practical Art of Motion Picture Sound. 4th ed. Waltham, MA, Focal Press, 2012. 

Highly detailed textbook that outlines all aspects of the film sound production processes. Yewdall writes from the perspective of an experienced professional, and the book is full of personal insights and sections in which other professionals share their experiences and anecdotes from the industry [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

* Michael Ondaatje, The Conversations - Walter Murch and the Art of Editing Film, Knopf, 2002 

[LZ photocopies] The boook is filled with stories about how some of the most important movies of the last thirty years were made and about the people who brought them to the screen. It traces the artistic growth of Murch, as well as his friends and contemporaries - including directors such as Francis Ford Coppola, George Lucas, Fred Zinneman and Anthony Minghella - from the creation of the independent, anti-Hollywood Zoetrope to Apocalypse Now Redux.

Design sonore et théâtre

* David Collison, The Sound of Theatre, A History - From the Ancient Greeks to the Modern Digital Age, 2008, Plasa Limited, p. 281

The Sound of Theatre traces the development of theatre sound in the Western world from the Ancient Greeks creating thunder with stones in large copper jars to the modern age of digital technology. With many anecdotes and personal recollections by David Collison, and largely based upon interviews with the individuals themselves or their relatives and associates.

* Ross Brown, Sound - A Reader in Theatre Practice, Palgrave Macmillan, 2009, 256 pages.

This book explores relationships between sound and theatre, focusing on sound's interdependence and interaction with human performance and drama. Contains previously unpublished material by and new interviews with leading contemporary innovators of theatre sound, including John Collins (Wooster Group) and Scott Gibbons (Socìetas Raffaello Sanzio). Offers both vocabulary and historical context for critical discussion and creative practice.

* Kaye, Deena, and James LeBrecht. Sound and Music for the Theatre. 3d ed. Boston, Focal Press, 2009. 

Although focused on theatre, much of this book is relevant for film, particularly the emphasis on the artistic aspects of sound design. The text offers advice on how to be creative with sound in planning a design and considers closely how variations of the elements in sound design can have an impact on an audience [Resume from Laura Anderson (2015): https://goo.gl/QP7d1C].

Design sonore et industrie 

Design de marque ; design marketing

* Doriana Dal Palù, Claudia De Giorgi, Beatrice Lerma, Eleonora Buiatti, Frontiers of Sound in Design. 

[subtitle] A Guide for the Development of Product Identity Through Sounds, Springer International Publishing, 2018. www.springer.com/gp/book/9783319768694 Preview.

The book investigates the role of sound from the consumer viewpoint, presents several tools and practical examples of sensory design tools and projects, and lastly, introduces a new tool and method developed expressly to support the design of product sound.

Design sonore et thérapie

Sonologie ; hygiène sonore ; gériatrie ; relaxation

• ..........

Design sonore interactif 

Arts sonore ; arts plastiques ; arts de la scène ; interface ; signalétique

• Conférence: "Musical Instruments in the 21st Century. Identities, Configurations, Practices", Designtransfer Berlin (Einsteinufer 43, 10587 Berlin), 13.-16. October 2016 - Exhibition, Concert and International Symposium on Design, Development, and Dissemination of New Musical Instruments (download program-abstracts)

Design sonore et environnement 

Paysage sonore ; écologie sonore ; qualité de vie

• ..........

Design sonore et média

Habillage jingle publicité multimédia

• ..........

Catégories adoptées à partir des matériaux de Frank Pecquet

• Fichier power-point: [FP] PECQUET_BS_DesignSonore_art-du design sonore - Grèce 2016
• Et son article "du design sonore" (2017) download