Experiencing Organised Sounds The Listening Experience Across Diverse Sound-Based Works

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                                                                                                 

Biography

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).

“In another outstanding contribution to music analysis, Leigh Landy’s Experiencing Organised Sounds is an important text for anyone interested in understanding and discussing score-less sound-making. With each chapter, diverse sound-based art forms and analytical approaches demonstrate multiple pathways into making art and analysing it. The book is organised by umbrella topics: fixed medium, live and sound art, within which each chapter discusses an example of the most common genres. Building on Landy’s extensive history of promoting sound-based art through insightful texts, this book is an impressive addition to his bibliography.”
Dr. Kerry Hagan, University of Limerick, President – International Computer Music Association

“This book goes far beyond sonic creativity. It is a definitive text for those of us who create music and teach sonic creativity. Written for a wider audience and with electroacoustic music at its core, it allows us not only to understand the full potential of creative listening to organised sound, but also to identify and appropriate the concepts and strategies that underlie the listening process. The practical application of the ideas of sonic creativity and the discussion of the influence of listening circumstances are framed by a set of diverse relevant examples. The contribution of this text also lies in the possibility of understanding the listening process as a creative act and thus generating a virtuous circle that informs how to teach and create sonic art and music today. This is one of the most interesting, useful and innovative books I have read in many years.”
Dr. Rodrigo Sigal, Director of the Mexican Centre for Music and Sonic Arts, Full-time professor at ENES, UNAM. Mexico

"This is a book that opens new worlds of listening. Leigh Landy concentrates on perception, on hearing. In the case of a sound-based composition, analysis must take listening into account. The big step forward here is the confrontation of media-based listening (headphone listening on the bus, stereo in the living room, etc.) versus live performance. The situational nature of listening influences the perception of a piece of music enormously. Although, as he states, this is not a new insight, Landy systematically approaches this issue via case studies across highly different genres - including sound art - thus providing the reader with new insights into sound-based works. This extraordinary book broadens the musicological horizon greatly and is equally suitable for scholars, composers and the general public."

Prof. Dr. Martin Supper, University of the Arts – Berlin, author of Elektroakustische Musik und Computermusik