Experiencing Organised Sounds

The Listening Experience Across Diverse Sound-Based Works
1. Auflage 2023
ISBN: 978-1-032-54743-5
Verlag: Routledge

Buch, Englisch, 240 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 531 g

Experiencing Organised Sounds investigates a wide horizon of sound-based works using a template consistently across its 16 studies. It has been written for both specialist and non-specialist readers aiming to address means of increasing appreciation and understanding related to the experience of sonic creativity (music involving any sounds, not just musical notes) across this repertoire, as well as to launch a discussion about how the reception of sonic creativity can be influenced by the circumstances of listening – in particular, regarding the qualitative difference between the in-situ as opposed to mediated experience. Although listening is the volume’s focus, complementary information from the musicians is offered to facilitate holistic work overviews. As the first composition presented was composed by a 15-year-old, the intention is to demonstrate that what might be considered a niche area of the contemporary arts is one in which both increased appreciation and participation could and should easily be achieved. The book’s work discussions are divided over three central chapters focused on fixed-medium compositions, performed and sound artworks. Experiencing Organised Sounds can be used as an undergraduate textbook, by experienced readers or those new to the area. All works discussed and related materials are available to readers online.

Zielgruppe

Postgraduate, Undergraduate Advanced, and Undergraduate Core

Autoren/Hrsg.

Landy, Leigh

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikinstrumente Elektronische Musikinstrumente
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
• Geisteswissenschaften Musikwissenschaft Musikgattungen Elektronische Musik

Inhaltsverzeichnis

Table of Contents

 

1 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

Über Autor(innen)

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).