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Experiencing Organised Sounds investigates a wide horizon of sound-based works using a template consistently across its 16 studies. It aims to address means of increasing appreciation and understanding related to the experience of sonic creativity (music involving any sounds, not just musical notes).
List of contents
Table of Contents1 To start What this book is all about Building on the author's previous work Regarding the central part of the book 2 Work discussions across sound-based creativity - Fixed Medium Acousmatic/1 - Florian Sulpice: C'est wiizzz!!! Acousmatic/2 - John Young: Three Spaces in Mid-Air Soundscape - Katerina Tzedaki: a soundwalk lowercase - Simon Atkinson: interiorities viii + Kerry Francksen/Simon Atkinson: Betwixt & Between Electronic/formalised - Kevin Dahan: Gravitational Landscape (with tinnitus) Visual music - Bret Battey: Three Breaths in Empty Space Text-sound + sample-based - Leigh Landy: On the Éire 3 Work discussions across sound-based creativity - Live Mixed music - Simon Emmerson: Solo Flute Quartet Improvised - James Andean: Third Space Live coding - Anna Xambó: MTI@20 - Leicester, UK DIY electronics - John Richards: Motor Music Turntablism - dj sniff (Takuro Mizuta Lippit): untitled performance Performance art - Neal Spowage: Noise Loop Bootstrap 4 Work discussions across sound-based creativity - Sound art Installations/1 - Francesc Martí: Speech cycle Installations/2 - Peter Batchelor: Contraption Objects - Sam Topley: Noisy Pompoms 5 To end References Appendix - The Intention/Reception Form Used in the Book Glossary
About the author
Leigh Landy directs De Montfort University's Institute for Sonic Creativity. He has been performed and offered keynote talks on every continent. He is editor of
Organised Sound (CUP), author of eight books, directs the ElectroAcoustic Resource Site (EARS) projects and is co-director of the Electroacoustic Music Studies Network (EMS).
Summary
Experiencing Organised Sounds investigates a wide horizon of sound-based works using a template consistently across its 16 studies. It aims to address means of increasing appreciation and understanding related to the experience of sonic creativity (music involving any sounds, not just musical notes).
