Motu digital performer 4.6 and os 10.13
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No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Pentcheva to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. Pentcheva individual chapters, the contributors The right of Bissera V. Her articles on phenomenology and aesthetics of medieval art have appeared in The Art Bulletin, Gesta, Speculum, RES Journal of Anthropology and Aesthetics, Performance Research International, and Dumbarton Oaks Papers.Īural Architecture in Byzantium Music, Acoustics, and Ritualįirst published 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 selection and editorial matter, Bissera V. She has published three books to date: Icons and Power: The Mother of God in Byzantium, The Sensual Icon: Space, Ritual, and the Senses in Byzantium, and Hagia Sophia: Sound, Space, and Spirit in Byzantium. Pentcheva is professor of medieval art at Stanford University, USA. The result is a rich contribution to the growing discipline of sound studies and an innovative convergence of the medieval and the digital.
#Motu digital performer 4.6 and os 10.13 software
By then drawing on audio software modelling tools in order to reproduce some of the visual and aural aspects of these multi-sensory public rituals, it inaugurates a synthetic approach to the study of the pre-modern sacred space, which bridges humanities with exact sciences. Engaging the material fabric of the buildings in relationship to the liturgical ritual, the book studies the structure of the rite, revealing the important role chant plays in it, and confronts both the acoustics of the physical spaces and the hermeneutic system of reception of the religious services. Abel and Kurt James Werner 198Įmerging from the challenge to reconstruct sonic and spatial experiences of the deep past, this multidisciplinary collection of ten essays explores the intersection of liturgy, acoustics, and art in the churches of Constantinople, Jerusalem, Rome, and Armenia, and reflects on the role digital technology can play in re-creating aspects of the sensually rich performance of the divine word. Acoustics of Hagia Sophia: a scientific approach to the humanities and sacred space / Wieslaw Woszczyk 176ġ0 Live auralization of Cappella Romana at the Bing Concert Hall, Stanford University / Jonathan S. Spatiality, embodiment, and agency in ekphraseis of church buildings / Ruth Webb 163ĩ.
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We who musically represent the cherubim / Laura Steenberge 143Ĩ. Transfigured: mosaic and liturgy at Nea Moni / Lora Webb 127ħ. Christ’s all-seeing eye in the dome / Ravinder S. Understanding liturgy: the Byzantine liturgical commentaries / Walter D. Byzantine chant notation: written documents in an aural tradition / Christian Troelsgård 52Ĥ. The great outdoors: liturgical encounters with the early medieval Armenian church / Christina Maranci 32ģ. Aural architecture in Jerusalem, Rome, Constantinople, and Alexandria / Peter Jeffery 14Ģ.