Sound and Music for the Theatre : The Art and Technique of Design

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  • Edition: 2nd
  • Format: Paperback
  • Copyright: 1999-09-08
  • Publisher: Elsevier Science
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This is the only comprehensive text that discusses the aesthetics of sound design for the stage. It is a practical and comprehensive guide to the field of sound design, covering the designer's relationships within the theatre community and detailing the process of sound design. The focus is on design approaches and techniques, rather than equipment operation. for every phase of theatrical production, Sound and Music for the Theatre traces the entire process of sound design from initial concept through finished plan. The book discusses the early evolution of a sound design that supports the play. It discusses how to research sources for music and effects, devise a sound plot, and negotiate in a contract. It explains how to plan the gathering and construction of the sound design elements; how the designer operates in a rehearsal; and how to set up and train an operator to run sound equipment for a theatrical production. The instructive information is interspersed with "war stories" describing real-life problems and solutions that sound designers or composers will be able to apply in similar situations that they may encounter. Also included are two highly informative roundtable discussions with well-respected directors, playwrights, composers and sound designers focusing on sound in the theatre.

Author Biography

Deena Kaye has designed sound, composed, and directed music for more than 200 productions at theatres, including The Public, NY Theatre Workshop, The Acting Company, National Shakespeare Company, and Riverside Shakespeare in New York City, the Berkeley Repertory Theatre, Dublin's Trinity, and London's Riverside. She has lectured and designed at many universities around the country and is also a vocal and audition coach. James LeBrecht has been a sound designer for more than 15 years, 10 of which were spent as resident sound designer at the Berkeley Repertory Theatre. His more than 100 sound designs have been heard by audiences at many theatres, including The Public in New York City, La Jolla Playhouse, American Conservatory Theatre in San Francisco, and The Old Globe Theatre in San Diego. He now devotes his time to sound for film and multimedia as well as theatre and is president of Berkeley Sound Artists.

Table of Contents

The Evolution of Sound Design
The Foundation of Sound Design
Developing the Concept and Design
Research, Resources, and Selection
The Sound Plot
Working with the Theatre Company
Preparing to Build the Cues
Recording, Editing, and Refining Cues
Running the Show
Approaches and Techniques
Feedback: A Director's and Playwright's Forum
More Feedback: A Sound Designer's and Composer's Forum
Additional Resources

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