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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 art works.
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.
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 art works.
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.
Making Music with Sounds offers a creative introduction to the art
of making sound-based music. It introduces the elements of making
compositions with sounds and facilitates creativity in school age
children, with the activities primarily for 11-14 year old
students. It can also be used by people of all ages becoming
acquainted with this music for the first time. Sound-based music is
defined as the art form in which the sound, rather than the musical
note, is the basic unit and is closely related to electronic music
and the sonic arts. The art of sound organisation can be found in a
number of forms of music--in film, television, theatre, dance, and
new media. Despite this, there are few materials available
currently for young people to discover how to make sound-based
music. This book offers a programme of development starting from
aural awareness, through the discovery and organisation of
potential sounds, to the means of generating and manipulating
sounds to create sequences and entire works. The book's holistic
pedagogical approach to composition also involves aspects related
to musical understanding and appreciation, reinforced by the
author's online pedagogical ElectroAcoustic Resource Site (EARS
II).
Making Music with Sounds offers a creative introduction to the art
of making sound-based music. It introduces the elements of making
compositions with sounds and facilitates creativity in school age
children, with the activities primarily for 11-14 year old
students. It can also be used by people of all ages becoming
acquainted with this music for the first time. Sound-based music is
defined as the art form in which the sound, rather than the musical
note, is the basic unit and is closely related to electronic music
and the sonic arts. The art of sound organisation can be found in a
number of forms of music--in film, television, theatre, dance, and
new media. Despite this, there are few materials available
currently for young people to discover how to make sound-based
music. This book offers a programme of development starting from
aural awareness, through the discovery and organisation of
potential sounds, to the means of generating and manipulating
sounds to create sequences and entire works. The book's holistic
pedagogical approach to composition also involves aspects related
to musical understanding and appreciation, reinforced by the
author's online pedagogical ElectroAcoustic Resource Site (EARS
II).
First Published in 1991. Routledge is an imprint of Taylor and
Francis, an informa company.
A study of contemporary music based on the premise that it is
suffering from a distinct lack of attention. It inspects and
evaluates what is happening to musical experimentation, where
things might have gone wrong and what can be done to resolve the
problem. Today a composer's newest creation is not always eagerly
anticipated and the composer is lucky to have his work performed at
all. The book is concerned, therefore, with the dispersion of
today's experimental compositions. It is intended to be a
supplement to surveys of music of the past forty years. Not only
are the problems of musical content discussed, but also of
extra-musical nature. Today's education and communications media
are seen to be the main cause of the anonymity of contemporary
music and suggestions are made to improve this situation. The
author investigates audio-visual applications new timbres and sound
sources, the discovery of musical space, new notations, musical
politics, and the "musical community".
Innovations in music technology bring with them a new set of
challenges for describing and understanding the electroacoustic
repertoire. This edited collection presents a state-of-the-art
overview of analysis methods for electroacoustic music in this
rapidly developing field. The first part of the book explains the
needs of differing electroacoustic genres and puts forward a
template for the analysis of electroacoustic music. Part II
discusses the latest ideas in the field and the challenges
associated with new technologies, while Part III explores how
analyses have harnessed the new forces of multimedia, and includes
an introduction to new software programme EAnalysis, which was
created by the editors as the result of an Arts and Humanities
Research Council grant. The final part of the book demonstrates
these new methods in action, with analyses of key electroacoustic
works from a wide range of genres and sources.
Innovations in music technology bring with them a new set of
challenges for describing and understanding the electroacoustic
repertoire. This edited collection presents a state-of-the-art
overview of analysis methods for electroacoustic music in this
rapidly developing field. The first part of the book explains the
needs of differing electroacoustic genres and puts forward a
template for the analysis of electroacoustic music. Part II
discusses the latest ideas in the field and the challenges
associated with new technologies, while Part III explores how
analyses have harnessed the new forces of multimedia, and includes
an introduction to new software programme EAnalysis, which was
created by the editors as the result of an Arts and Humanities
Research Council grant. The final part of the book demonstrates
these new methods in action, with analyses of key electroacoustic
works from a wide range of genres and sources.
The first work to propose a comprehensive musicological framework
to study sound-based music, a rapidly developing body of work that
includes electroacoustic art music, turntable composition, and
acoustic and digital sound installations. The art of sound
organization, also known as electroacoustic music, uses sounds not
available to traditional music making, including prerecorded,
synthesized, and processed sounds. The body of work of such
sound-based music (which includes electroacoustic art music,
turntable composition, computer games, and acoustic and digital
sound installations) has developed more rapidly than its
musicology. Understanding the Art of Sound Organization proposes
the first general foundational framework for the study of the art
of sound organization, defining terms, discussing relevant forms of
music, categorizing works, and setting sound-based music in
interdisciplinary contexts. Leigh Landy's goal in this book is not
only to create a theoretical framework but also to make the work
more accessible-to suggest a way to understand sound-based music,
to give a listener what he terms "something to hold on to," for
example, by connecting elements in a work to everyday experience.
Landy considers the difficulties of categorizing works and
discusses such types of works as sonic art and electroacoustic
music, pointing out where they overlap and how they are
distinctive. He proposes a "sound-based music paradigm" that
transcends such traditional categories as art and pop music. Landy
defines patterns that suggest a general framework and places the
studies of sound-based music into interdisciplinary contexts, from
acoustics to semiotics, proposing a holistic research approach that
considers the interconnectedness of a given work's history, theory,
technological aspects, and social impact. The author's
ElectroAcoustic Resource Site (EARS, www.ears.dmu.ac.uk), the
architecture of which parallels this book's structure, offers
updated bibliographic resource abstracts and related information.
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