Rhetorical Analysis of Sound

Gerard Hauser, in his book `Introduction to Rhetorical Theory', believes
that rhetoric is concerned with the act of sharing, meaning, and
interpretation through the use of symbols (Hauser 2). The concerns of
rhetoric have been defined narrowly to that of managing verbal symbols,
whether oral or written. Hauser himself admits that symbolic modes other
than the verbal, such as dance and music, can also exert influence. In
trying to develop a rhetorical analysis of sound, we must consider many of
the concepts and tool used to traditionally analyze verbal communication in
the context of sound.

Sound unlike things does not exist in any physical form, it is simply caused
by other physical things. Its distinguishing characteristics are only
aurally perceptible. Sounds are more like events that occur at a specific
time and place. Sounds like events may have causes and even outcomes. Sound
may also be conceived as a continuous process with sequential (like music)
or perhaps even non-sequential development (see Hyper-Musik later).

* Sonic Action
* The Life-Cycle of a Sound
* Emotions
* Presentation vs. Representation
* Sound Metaphors

It is difficult to construct very many sounds without the weight of certain
inherent metaphorical structures. Yet just as all visual metaphors breakdown
as they are applied comprehensively, we cannot solely rely on sound
metaphors to convey a full range of acoustical properties for informational
or aesthetic referents. A newly developed language is necessary to ground
the application of sound, not just using metaphors. Just as an entire
convention was developed in computing, to permit the use of word processors
and then of hypertext (`hyper-links & nodes?') , so must be done to realize
a more comprehensive use of sound in digital media today.

Hierarchy

   * Home: Sonic Ethos
   * More General: Sonic Ethos
   * Previous: Introduction
   * Next: Past Sound Experiments
   * More Detail: Sonic Action