There is a potential in the auditory formal that could make audiobooks unique and independent works of art.
Imagine, how does it sound Mozartin Clarinet Concerto Adagio-part. Will there be a bright gentle feeling or will Adagio associate the tear opening opening tear ducts in your head?
It may be that the song does not evoke its larger images.
In the fiction, ages and ages have referred to various pieces of classical and popular music. For some of the readers, the author’s efforts to create an atmosphere remain obscured, but at the end of some, the song mentioned in the book immediately begins to play.
For example, published last year Kjell Westön In Tritonus mixed Anni Kytömäki Margarita classical music is an integral part.
In Kytömäki, they stand out in particular Rachmaninov works; Westö refers to this numerous times Adagion.
In Tritonus Mozart’s song describes the grief process of another protagonist, widow Reidar Lindell. Adagio walks in bright A major, which suggests that the suffering brought about by the death of a wife is turning into beautiful memories of a loved one.
Similarly, the other protagonist of the work, conductor Thomas Brander, is a contradictory and anxious figure. He has also named his home Casa Tritonus according to the devil’s interval.
In addition to the pieces of music, the workings of the cars and the rustling of the creek would reinforce the feeling of different milieus.
For print works, detailed descriptions of the pieces of music are almost essential. But what about audiobooks? There is potential in the audiobook format that has not yet been exploited.
Many writers the mood referred to could be conveyed to a large readership even better if small snippets of the passages referred to in the text were included. At the same time, the reader could observe for himself how badly Tritonus whistles in his ears or how Adagio is.
Putting whole symphonies in the background of books would hardly be a viable idea. At least my own focus would not be enough for that. Instead, I would be happy to receive, for example, small tastings of the prelude to the songs mentioned in the books or of well-known solo excerpts. For composers who died decades and even centuries ago, copyright would not even be an obstacle.
In addition to the pieces of music, the workings of the cars and the rustling of the creek would reinforce the feeling of different milieus. Then, of course, audiobooks would start to resemble listening, and doing sound design would take time and money.
However, the counterattack would be something unique.
Audiobooks listening and buying set out to rise during the coronary crisis, but some of the lust readers have not warmed up to the new format. I’ve heard of audiobooks napping from many large consumers of literature. Fast readers devour hardcover books much faster than audiobooks, so slow-moving audio tracks are therefore inaccessible to listen to. Some even listen to books at double the speed.
Would the end result be different if audiobooks resembled more listeners than books read aloud? In that case, at least the audiobook would be an independent work of art and not so much another distribution channel for the book.
Careful steps this direction has already been taken. American songwriter Lana Del Rey, real name Elizabeth Woolridge Grant, debuted last year as a poet. His debut work Violet Bent Backwards Over the Grass was first published as an audiobook and only later in a printed version. The background of the poems in the audiobook includes a subdued atmosphere with piano, guitar and saxophone, among other things.
It remains to be seen whether the idea will gain a stronger foothold in the field of literature and to what extent in the future audiobooks will begin to resemble listening. If that happens, it’s very possible that at least this book digger is putting headphones in their ears more and more often instead of grabbing a hardcover book.
Also read: According to Kjell Westö, music is often poorly written, and the worst quality is the biographies of the musicians: Comparing genital size was too much in Keith Richards ’book
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