Sound Director Research Articles

Specificity of Using Phonograms in Popular Music

The purpose of the research. This article attempts to characterise the interaction of sound directing practices with popular music during stage performances and concerts. The research methodology employed to address the set objectives consisted of a historical-cultural approach to analyse the development process of digital sound recording formats and innovations in concert touring practices, a philosophical-aesthetic approach when considering the aesthetic principles of the music and sound concept in concert performances, and a method of theoretical generalisation to draw conclusions and justify the specific features of the outlined issues. The scientific novelty of this article lies in being the first in Ukrainian science to substantiate and sequentially describe the work on recording playback phonograms in the studio, as well as their subsequent use together with live performances by artists during a long-anticipated concert tour as a unified music and sound image of the creative ensemble, based on teaching and sound engineering experience. Conclusions. With the development of digital means of artistic expression, the use of phonograms in popular music has gained significant momentum, with the main argument in favour being the "the main focus is the show programme". This, to some extent, justifies artists' performances to pre-recorded playback. Therefore, based on analyzed examples, the specificity of the sound engineer's work with a complex scheme of simultaneous use of phonograms from a player-recorder (HDR) and the sound accompaniment of the creative ensemble during stage performances is elucidated. The issues related to this practice and recommended methods to avoid them are highlighted. It is determined that the concert sound director is a central figure in creating a popular music stage performance. The level of artistic and spectacular event, regardless of the chosen performance format (playback or live performance) of the creative performer/ensemble, depends on their professional skills and practical experience in utilising innovative sound equipment. The use of a full or partial phonogram during a concert, presented to an enthusiastic audience, is a matter of professional ethics and the integrity of the artist(s). Failure to uphold these high components results in complete ruin of the performer's or creative ensemble's stage career. The final choice remains with the artists. Keywords: sound directing, popular singing, backing vocals, instrumental performance, studio sound recording, phonogram, sound equipment.

PRIMA BALALAIKA AND ITS MUSICAL AND ACOUSTIC FEATURES

The article considers musical and acoustic features of the prima balalaika. The sounding characteristics of the balalaika are described as well as the influence of its acoustic features on sound directing when recording the instrument in the studio. The peculiarities of balalaika tuning in different formations and the instrument range are considered. The article will be useful for the musicians, sound directors, and also to anyone who is interested in the Russian folk music and its instruments.

Technical peculiarities of the narrative action games of the 1990s – 2010s as a factor of their development in the context of digital art

The purpose of the article is to reveal and analyze the technical peculiarities of the narrative action games of the 1990s – 2010s as a factor of their development in the context of digital art.
 The methodology of the research is accordingly conditioned by the interdisciplinary and techno-cultural nature of the subject of study that has an influence on the choice of toolkit among the components of which are: firstly, reductionist theory and the principle of technological determinism, which help to reveal the role of computer technology in improving game mechanics and shaping the an artistic-expressive means inherent in action games; secondly, narrative analysis that helps to understand the connection of the aesthetic effect with the unique narrative form of video games, which makes it possible to synergize the interactive and artistic-staging parts; and, thirdly, philosophical approach in its connection with the art historical analysis, thanks to the cooperation of which it becomes possible to apply game and phenomenological principles as elements of the above analysis to reveal the specifics of the artistic-virtual space of action games, which is close to interactive fiction and animated films in its aesthetic characteristics.
 The results. It was pointed out that in the 1990s – 2010s narrative video games thanks to technical progress made a “breakthrough” in the development of an artistic-expressive system. On the examples of “Wolfenstein 3D”, “Quake”, “Half-life”, “Half-Life 2”, “Doom 3”, “Fahrenheit”, “Crysis” and “Heavy Rain” it was proved that the development of action video games in the pointed period was supposed to solve the problem of conventionality (“animation”) of the image through technological innovations that reduced unrealism and increased its expressiveness. The key role in this played such an aesthetic constant as Narrative Space. It was found out that the technological evolution of action games as a genre of digital art was accompanied by the emergence of non-linear artistic and ontological patterns and the acceleration of the dynamics of the development of the game space.
 The scientific novelty. For the first time in the article an attempt was made to analyze the technical peculiarities of the action games of the 1990s – 2010s as a factor in their development in the context of digital art and interactive non-linear narrative.
 The practical significance. The obtained results can be applied in the modernization of programs for the professional training of multimedia directors, sound directors, animators, and other specialties in higher education institutions. The materials of the work are of the practical value for researchers in the field of theory and history of art, modern screen culture and audio-visual synthesis, and can be used in the development of educational and methodological manuals and lecture courses devoted to computer games and interactive programs.

Sound Director in Modern Program Content of TV Channels

The purpose of the article is to determine the place of the sound director in the creation of a global information space that would ensure effective interaction of people, their access to global data resources and satisfaction of needs for information products and services using the content of television programs. The research methodology consists in the application of special methods: source analysis of the main publications on the topic (to find out the level of scientific development of the problem); historical and cultural, which led to a holistic approach to the analysis of the process of the historical development of sound engineering in Ukraine. The work also used general scientific methods: methods of analysis and description, for the general characterization and understanding of the essence of the sound director’s profession. The scientific novelty of the work lies in the fact that for the first time, the process of sound director’s work in modern TV channel programming is highlighted. The process of formation of sound engineering and the sound director’s activity in the Ukrainian cultural space is described. Based on the study of the source base, the author outlines the trends and reasons for the emergence of the sound engineering profession and clarifies the aesthetic foundations of the formation of sound engineering in Ukraine. The article deals with the interaction between technology and art in contemporary culture, emphasizes the interconnection of technical and technological and artistic components in artistic culture, and points to several artistic trends inspired by scientific and technological progress. The qualification requirements for a modern sound director are considered. The issue of rethinking the creative activity of sound directors in the media has been further developed. Conclusions. The review of the source base proved that the work of a sound director on television has many difficulties related to the technical support of studios, the conditions of filming, and the creative process. But also due to the importance of television as a way of communication and a source of information, sound design on TV has prospects for development and improvement.

Specific Features of Sound Director's Work in Wartime

The purpose of the article is to substantiate and identify the features that help a theatre sound engineer to ensure the holding of a cultural and artistic event in any conditions. The research methodology is based on the principles of historical, cultural, and interdisciplinary approaches, the use of general scientific methods, synthesis, and generalisation. A systematic approach was used for the analytical measurement of the components of the problem. In order to study the interconnected and interacting elements of the process of creating a musical image, the system-structural method was used. The method of generalisation was used to draw the conclusions of the study. The scientific novelty consists in the cultural dimension of the peculiarities of the musical image creation of the performance through the conceptualisation of the idea that the work of a theatre sound engineer is an integral part of artistic culture; it contributes to conveying this work to the viewer and immerses the audience in the specific environment of the performance. It also involves people in the active process of communication and creativity, which is an important component of the Ukrainian national socio-cultural continuum. Conclusions. The analysis of the problems of creating a musical image and the specifics of creating a certain musical environment in which the performance takes place, the systematisation of certain theoretical and practical tools for the creation and reproduction of the musical design of any cultural and artistic events (including theatrical performances) allows us to state that theoretical knowledge and the creative activity of the theatre sound engineer as an artist forms a harmonious whole, contributes to the generation of new ideas regarding the practical use of the sound engineer's activities, especially in conditions unsuitable for the above-mentioned events.
 Key words: music design, sound image, sound design, sound, cultural and artistic events.

Band-in-a-Box-a program to create compositions in genres of popular music

The goal of the work. The purpose of the article is to disclose new tools and methods of using computer technologies in modern musical practice on the example of a description of work and ample opportunities for an arrangement of the Band-in-A-BOX Senecrent. The research methodology is to identify and present practical methods of working in the Band-in-A-Box Seckwowner at the main stages of functioning. The scientific novelty of the work is to reveal the palette of the contemporary Band-in-A-Box sequencer when arranging musical works with the help of one of the most powerful modern music editors. The use of Band-in-A-Box Seneseor increases the interest of modern youth in quality musical training, as well as expanding the palette of opportunities for composers, arrangers, sound directors and beginners musicians. Conclusions. Music computer technologies are a new field of knowledge that is constantly developing. It synthesizes technology and art, and these are two poles that are constantly moving and improving tools for creativity, learning and research. The dynamic nature of these processes is associated with the continuous restoration of scientific and technological progress. Band-in-a- Box music sequoter is another modern advanced computer program that offers advanced technologies for creative experiments in creating and arranging musical compositions. The program has many other useful features, a developed menu system, dialogs that allow you to adjust literally every parameter of arrangement and sound synthesis. The number of finished styles is constantly increasing. The program is also interesting because it seems to generate all those knowledge about the ability to perform on the synthesizer when applying the function of automatic companion. Keywords: musical sevener, computer arrangement, Midi instruments, composer, sound engineer.

Band-in-a-Box – a program to create compositions in genres of popular music (Part 1).

The goal of the work. The purpose of the article is to disclose new tools and methods of using computer technologies in modern musical practice on the example of a description of work and ample opportunities for an arrangement of the Band-in-A-Box Senecrent. The research methodology is to identify and present practical methods of working in the Band-in-A-Box Seckwowner at the main stages of functioning. The scientific novelty of the work is to reveal the palette of the contemporary Band-in-A-Box sequencer when arranging musical works with the help of one of the most powerful modern music editors. The use of Band-in-A-Box Seneseor increases the interest of modern youth in quality musical training, as well as expanding the palette of opportunities for composers, arrangers, sound directors and beginners musicians. Conclusions. Music computer technologies are a new field of knowledge that is constantly developing. It synthesizes technology and art, and these are two poles that are constantly moving and improving tools for creativity, learning and research. The dynamic nature of these processes is associated with the continuous restoration of scientific and technological progress. Band-in-a- Box music sequoter is another modern advanced computer program that offers advanced technologies for creative experiments in creating and arranging musical compositions. The program has many other useful features, a developed menu system, dialogs that allow you to adjust literally every parameter of arrangement and sound synthesis. The number of finished styles is constantly increasing. The program is also interesting because it seems to generate all those knowledge about the ability to perform on the synthesizer when applying the function of automatic companion.
 Key words: musical sevener, computer arrangement, Midi instruments, composer, sound engineer.

FUTURE EDUCATOR TRAINING TO ACQUAINT PRESCHOOL CHILDREN WITH MUSICAL PROFESSIONS

The article highlights the theoretical and methodological principles of future educators of preschool education institutions training to acquaint children with music professions. Emphasis is placed on the sensitivity of preschool age for the development of children's musicality and interest in professions. It is emphasized that the formation of competence to acquaint preschoolers with musical professions takes place in the process of professional training of students majoring in Preschool Education in higher educational institutions and involves the implementation of three components. The cognitive component covers the system of formation of students’ knowledge about the psychological and pedagogical features of preschool children’s development, musical professions, purpose, tasks, content, methods, and forms of organization of preschoolers’ musical education. The activity component is characterized by the process of formation of competencies to plan and implement musical and didactic games to acquaint preschool children with the professions of a singer, an instrumentalist, a conductor, a composer, a DJ, a sound director, etc. The article presents the characteristics of one of the effective methods of their formation, namely the introduction of game technologies in the educational process of preschool educational institutions. The reflective component involves checking future educators’ readiness to acquaint preschool children with music professions on the basis of their competencies in the organization of play activities with students, the implementation of musical and didactic games in preschool educational institutions during teaching practice, participation in various informal extracurricular activities.

To the Question of the Specificity of the Sound Director's Work in the Recording of Traditional Music

Relatively recently, the professional creative activity of musicians has developed the profession of sound director, the accumulated practical experience and the formed historical and theoretical base of this specialization reveals a number of signs allowing to speak about the specificity of this activity. It is no accident that there are obvious differences in the phonograms, that every sound director has a number of individual qualities that allow to speak about the creative nature of the profession. The growing demand for sound directors, the popularity of the profession, is an impetus for researchers. Today, the scientific-theoretical understanding of the creative process of the sound director is devoted to many works devoted to certain aspects of creative sound recording. Despite this, the theory of sound management style is not developed enough, which determines the relevance of the topic of this study. Since the beginning of the 1990s, the State Conservatory of Uzbekistan has been training professional sound directors, and today it has accumulated a lot of practical experience, developed traditions of recording different musical trends: From recording traditional music to symphonic music, from pop to academic music, recordings are made right during the concerts and are recorded in the studio. All these phonograms, recorded under the same technical conditions, have different style patterns. For 25 years, in constant creative search, based on the achievements of colleagues and experience of students, we try to identify the specificity and semantics of the art of sound management using the example of recording traditional music.

The Process of Musical Interpretation and the Play-Element in Music

The article is devoted to examination of such phenomenon as musical interpretation, which incorporates various aspects of composer’s and performer’s creativity, listener’s perception, different styles of musical art, creative communication in music. The attempt to find the traits of the play-element in the process of musical interpretation may help to define the mechanisms, through which “play” activity in music in general is realized. Systematic approaches of scholars of the play-element and theorists of artistic interpretation present great possibilities to conduct such a research.
 Examination of theoretical points of view on beforementioned problems allowed to reach a conclusion that the play-element is inherent to the music and is expressed in the process of interpretation. This happens in the framework of the system “composer – performer – sound director – listener”, in which artistic interpretation plays a significant role.

Management Priorities of Audiovisual Student Projects during the COVID-crisis

COVID-crisis has made significant changes in the educational process of many coun-tries, including the need for new management decisions that would solve the complex problem of accelerating the development of online resources for distance learning. Management, particularly in education, is valuable when it is able to combine both general and specific goals. Especially when it comes to a specific educational process for training future TV and radio journalists, advertisers and PR-managers, screenwrit-ers and directors, sound directors, TV presenters, film and cameramen. The peculiarity of these professions is the combination of both creative and technological components of production and placement of professional audio-video content, i.e. content pro-duced by TV and radio companies, film or TV studios, advertising agencies, and aimed at a mass audience. One of the basic priorities in training such specialists is, first of all, the practice, which is based on the planned implementation of educational audiovisual projects and the ability to put them into effect in certain circumstances, including COVID-crisis caused by COVID-19 virus. Therefore, the aim of the article is to hypothesize how to build a productive distance educational strategy in the condi-tions of COVID-crisis, which specifically affected the quality of practical training of specialists in the field of audiovisual media and arts in Ukraine.

Sound in documentaries as a tool of expression instead of representation

The concept of reality in the context of documentaries has always been a focus of controversy, with manipulation of captured material during the filmmaking process being disallowed or labelled inauthentic. Nonetheless, some documentaries have approached the filmmaking process in an experimental way and are using a different approach to represent reality. At the same time, sound in documentaries is still usually misunderstood as a medium in which manipulation, processing – or even more radically – the creation from scratch, is not encouraged or not properly understood. This article proposes to portray the production of sound in films as a collaborative process that enables the director to think of sound as an element of expression – a tool with which to describe reality from another perspective, capable of creating possibilities for the sound director to translate emotions and feelings into sonorities due to the versatility of human sound perception. The usage of sound should take risks; experimentation with it empowers sound to become more creative and more radical.

Сучасні системи сценічного звукового забезпечення

The purpose of the article is to review, systematize and analyze the functional characteristics of the sound supply means of stage productions. The research methodology consists of the following approaches: system-historical (to study the problem), art history (to clarify the role of the sound system in modern stage practice), structural-analytical (for the functional classification of the components of the stage sound system). Scientific novelty. In the offered research the modern sound maintenance system of theatrical and entertaining productions is considered, its basic constituent elements have been systematized and analyzed; the role of technical means in work of the sound director on sound imagery creation of production has been comprehended. Conclusions. The study found that the profession of theater sound director and entertainment productions involves, in addition to sound recording skills, selection, editing and musical montage, noise, voice and other types of sound effects in accordance with the director’s design, and the ability to work with analog and digital sound equipment. It has been established that the main elements of the stage sound equipment system include microphones, monitors, amplifiers, speakers and mixing consoles. For example, during a rock concert on stage, musicians and vocalists use different types of microphones, place combo amplifiers of their electric instruments next to musicians; monitors on the floor in front of them invisible audiences shoot from the side of the stage or hang over the portal arch mirror the stage and directed towards the listeners are portals. In the center of the auditorium is a sound engineer’s console. It has been proved that an important component of the system of quality sound design is the room’s acoustic characteristics, which must be taken into account and improved during the events organization. It has been found that with the help of modern wireless sound systems it is possible to create conditions for theatrical and entertainment events without restrictions on their acoustic characteristics.

Creative dialogue and cross-interactions in the collaboration of pop artist-vocalist and sound director/sound designer in modern socio-cultural reality

The aim of the work is to conceptualize and actualize in the context of modern musicology the problem of creative dialogue of pop artist-vocalist and sound director / sound designer as a complex phenomenon of art culture in the chronotope of the second half of XX – early XXI century. The research methodology consists in the use of comparative and concrete-historical methods for conceptualizing the creative dialogue of a pop vocalist and sound designer, determining their cross-interference, using the formal method and the method of hermeneutic interpretation to analyze the concept of «creative dialogue», profiling its functions in the chronotope of the present. The scientific novelty lies in the conceptualization and actualization in the context of modern musicology of the problem of the creative dialogue of the pop artist, vocalist and sound engineer / sound designer as a complex phenomenon of artistic culture in the chronotope of the second half of the XX – early XXI century. The scientific novelty also includes the disclosure of the performing techniques of the pop artist and vocalist and the consideration of the peculiarities of cross-over interaction that can occur during rehearsals, studio recording, at concert performances and other creative interactions. It is important to define and comprehend the functions and internal structure of the creative dialogue of a pop singer with a sound engineer / sound designer in collaboration and to confirm that for vocalists a sound engineer is a full-fledged co-author of artistic projects and a producer of success. Findings. The study showed that the analysis of the creative dialogue of a pop artist-vocalist in joint work with a sound engineer / sound designer and profiling of its functions in the chronotope of the present, consideration of the concept of «creative dialogue», determination of the performing techniques of a pop singer and the peculiarities of cross-interactions that occur during rehearsals, studio recording, at concert performances and in other creative interactions in modern conditions of socio-cultural reality is really relevant. For vocalists, a sound engineer/sound designer is a full-fledged co-author of artistic projects and a producer of success. Actualization of the concept of «creative dialogue» from the point of view of its procedural and dialogical comprehension in the context of modern musicology, consideration of the issue of creative dialogue of a pop artist-vocalist and sound engineer/sound designer as a complex phenomenon of artistic culture in the chronotope of the second half of the XX – early XXI century is so attractive a phenomenon that requires study and further fundamental research.

Problems And Errors Of Video Editing Beginners

This article is a huge problem for the sound director - it is about non-linear video editing. It also discusses the types and methods of teaching nonlinear editing. Therefore, this article will help users who have the necessary information about the non-linear video editing audio process

Sound as a Style Somponent of Art Rock: Formation Ways and Factors

Relevance of research. Recent studies of rock music by representatives of academic musicology are more and more often devoted to matters of style. An important component of rock stylistics is sound that is first of all related to timbre coloristic and texture characteristics of sounding. It is the sound that highlights the creative individuality of rock musicians and becomes a key to support rock bands awareness. Sound obtains a special value in the creative practice of art rock (including progressive rock) that is an intersection of rock and academic music. This is why the studies of sound formation factors are important, both merely artistic and those beyond artistic.Main objective of the study. The purpose of the article is through the example of creative work of rock bands that are the main art rock representatives (“Genesis”, “Gentle Giant”, “King Crimson”, “Pink Floyd”, “Yes”) define the ways and different in nature factors of sound formation process. The research methods. The choice of research methods is determined by specificity of material, namely by the fact that the musical notation of the music being analyzed is not available. The main in the study is the comparative method that allows us to clarify common displays and difference in sound formation or art rock bands, as well as respectively modified intonational analysis methods.Results and conclusions. Sound arises as a style category that defines individual character of sounding. The creative practice of rock music typically involves unity of the author(s) of the music and the performer(s), therefore rock music is considered as a result of combination of the composer’s and the performer’s intentions in the artistic communication. The ensemble specificity of rock bands requires special attention to the nature of relation of vocal and instrumental components and the analysis of their importance in the sound formation of one or another band. Consideration of sound in the context of timbre and timbre formation allowed to state the spread in the practice of art rock of trends that previously formed in the field of academic music of the 20th century: significant expansion of instruments, use of noise and specific sounds, rethinking the possibilities of various instruments, experiments with musical texture.A special role of music producers, arrangers and sound directors in the sound formation has been noted. It is emphasized that the search for new sounds stimulated the design of fundamentally new electromechanical (such as Mellotron) and electronic instruments. It is shown with the example of specific groups that the formation of sound in art rock is often the result of inter-genre and stylistic synthesis, when distant genre-style layers become material for textural, dynamic, agogical experiments. It is claimed that further research into the sound will provide an opportunity to get closer to understanding the mechanisms of style formation in rock music.

ICT-SUPPORTED EXTRA-CURRICULAR ACTIVITIES FOR UNIVERSITY STUDENTS MAJORING IN TRANSLATION STUDIES

In the context of the reformation of the higher education in Ukraine the preparation of translators and interpreters requires new approaches to the process of teaching and learning. It presupposes the implementation of ways and forms aimed at active rather than passive learning, an increased sense of academic autonomy, development of motivation, responsibility and accountability in acquiring profession-specific knowledge, skills, communicative abilities and attitudes as well as interdependence and mutual respect between the academic teacher and the student.
 The authors of the article argue that the language tuition to students majoring in translation studies contributing to the overall development of their professional competence of intercultural mediators can be carried out in the form of extra-curricular activities via information and communication technology tools.
 With respect to the results of the grounded study of current tendencies, achievements and problems, valuable experience and outcomes related to the issue under consideration, the paper reflects on two extra-curricular activities, their stages, aims, objectives and tasks performed; analyses their importance and efficiency in promoting students’ autonomy and responsibility; outlines the role and the functions of information and communication technology tools used.
 The English Speaking Club involves specially arranged meetings intended to provide practising English autonomously outside the classroom context. Participating in conversations with a native speaker students have the opportunity to improve their vocabulary, grammar, pronunciation skills, enrich their background knowledge of traditions and culture of the English-speaking countries as well as overcome psychological barriers while expressing personal views and ideas.
 Translation and Voice Over Recording Studio is organised as a project activity tailored to initiate student translators and interpreters to the real workflow of a project team specialising in translation of different types of audio and video texts in the English language into Ukrainian and their further voice over recording. Performing roles of translators, proofreaders, editors, voice-over artists and sound directors, the participants have the opportunity to practically implement knowledge, skills and communicative abilities obtained while learning profession-specific subjects at the university, developing and improving translation and interpretation skills in particular. Specially selected information and communication technology tools provide the efficient organisation of the Club’s and Studio’s work.

Spatial Interpretations of Recorded Music Sound

The aim of this study is a multi-vector study of the concept of “space” in the context of the interpretation of the recorded musical sound.Research methodology. Methods of interdisciplinary analysis of scientific literature on the issues of art, musicology and sound production have been applied.Results. The sound space contributes to the formation of an interesting sound that complements the song, increases its sense-content load, and creates an appropriate atmosphere. In various models of sound space, the technical aspects created during the recording of a musical work (regulated by panning, equalizers, microphone receptions, reverb, etc.) contribute to the correlation of the recorded space with the metaphorical spaces present in the musical work.Novelty. The analysis of modern scientific approaches to the definition and functioning of the concept of “space” in the context of the interpretation of recorded music sound based on musicological research A. Moore, W. Moylan, A. Rustamov, L. Camilleri, E. Kraugerud, S. Zagorski-Thomas, R. Brоvig-Hanssen and A. Danielsen. Existing concepts of space in stereo recordings and the main functions of sound space are considered and their influence in the process of creating music space by a sound director (the formation of a high aesthetic level, correspondence of genre of a musical work, realism). The relationship between actual (or virtual) and metaphorical sound recording space is analyzed.The practical significance. Information which is given in this article can become useful for the Ukrainian experts and people on the ground of sound directing, musicology, in the context of involving it to educational and scientific appeal.

Mimesis a duende. Proces kreacji flamenco w świetle koncepcji naśladownictwa w starożytnej estetyce greckiej

The paper describes the relationship between imitation and creativity in flamenco style, referring them to the Greek concept of mimesis and comparing it with the duende concept present in this genre. Although both ideas are separated by two thousand years, they transpire to be unexpectedly convergent in their basic premises. In order to present the phenomenon of duende, the author also attempts a short answer to the question of what the phenomenon of flamenco is, what conditioned its emergence, what its characteristics are, and what forms and styles of flamenco can be currently found. Describing the phantasms about duende and a flamenco show, the author presents the process of creating a flamenco performance and its choreography. The paper refers to the accomplishments of the acclaimed Polish philosopher Władysław Tatarkiewicz, and is also a tribute to the late professor Jagna Dankowska, a sound director, a Professor of Philosophy, a Professor at the Fryderyk Chopin University of Music in Warsaw, who inspired the author to write this text.

Sound in Modern Screen Discourse

The purpose of the study is to identify the means and methods of introducing new technologies to provide the screen arts with sound and sound effects. The methodology of the study implies the use of a general scientific approach; comparative and historical methods are also applied. The novelty of the study is that: a) the historical aspects of the formation and development of sound systems in cinema are analyzed, b) the peculiarities of the creative approach of cinema sound directors to sound recording are analyzed. Conclusions. The study found that in order to form an effective and purposeful impact on the perception of the film viewer, the sound engineer must not only have a sophisticated hearing and developed artistic taste, but also profoundly possess the technological aspects of creating new sounds (sound effects), as well as ways to combine them realistic sounds – language, music, noise. It is shown that with the introduction of multichannel recording / reproduction of sound into the practice of film production, it became possible not only the localization of sound in the screen space, but also the movement of sound near the viewer.