{"product_id":"experiencing-organised-sounds-9781032533278","title":"Experiencing Organised Sounds","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eExperiencing Organised Sounds\u003c\/em\u003e 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 \u003ci\u003ein-situ \u003c\/i\u003eas 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 p\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e“In another outstanding contribution to music analysis, Leigh Landy’s \u003ci\u003eExperiencing Organised Sounds\u003c\/i\u003e 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.”\u003cbr\u003e\u003cb\u003eDr. Kerry Hagan, \u003c\/b\u003e\u003ci\u003eUniversity of Limerick\u003c\/i\u003e\u003cb\u003e\u003ci\u003e, \u003c\/i\u003e\u003c\/b\u003e\u003ci\u003ePresident – International Computer Music Association\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e“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.”\u003cbr\u003e\u003cb\u003eDr. Rodrigo Sigal\u003c\/b\u003e, \u003ci\u003eDirector of the Mexican Centre for Music and Sonic Arts\u003cb\u003e, \u003c\/b\u003eFull-time professor at ENES, UNAM. Mexico\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"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.\"\u003c\/p\u003e\u003cp\u003e\u003cb\u003eProf. Dr. Martin Supper\u003c\/b\u003e, \u003ci\u003eUniversity of the Arts – Berlin, author of \u003c\/i\u003eElektroakustische Musik und Computermusik\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1 To start \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e What this book is all about \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Building on the author’s previous work \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Regarding the central part of the book \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e2 Work discussions across sound-based creativity – \u003ci\u003eFixed Medium\u003c\/i\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Acousmatic\/1 – Florian Sulpice: \u003ci\u003eC’est wiizzz!!! \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Acousmatic\/2 – John Young: \u003ci\u003eThree Spaces in Mid-Air \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Soundscape – Katerina Tzedaki: \u003ci\u003ea soundwalk\u003c\/i\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e lowercase – Simon Atkinson: \u003ci\u003einteriorities viii \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e+ Kerry Francksen\/Simon Atkinson: \u003ci\u003eBetwixt \u0026amp; Between\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eElectronic\/formalised – Kevin Dahan: \u003ci\u003eGravitational Landscape \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003e (with tinnitus)\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eVisual music – Bret Battey: \u003ci\u003eThree Breaths in Empty Space \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Text-sound + sample-based – Leigh Landy: \u003ci\u003eOn the Éire \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e3 Work discussions across sound-based creativity – \u003ci\u003eLive \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cb\u003eMixed music – Simon Emmerson: \u003ci\u003eSolo Flute Quartet \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Improvised – James Andean: \u003ci\u003eThird Space \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Live coding – Anna Xambó: \u003ci\u003eMTI@20 – Leicester, UK \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e DIY electronics – John Richards: \u003ci\u003eMotor Music \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Turntablism – dj sniff (Takuro Mizuta Lippit): \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \u003ci\u003euntitled performance \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Performance art – Neal Spowage: \u003ci\u003eNoise Loop Bootstrap \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e4 Work discussions across sound-based creativity – \u003ci\u003eSound art \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Installations\/1 – Francesc Martí: \u003ci\u003eSpeech cycle\u003c\/i\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Installations\/2 – Peter Batchelor: \u003ci\u003eContraption \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e Objects – Sam Topley: \u003ci\u003eNoisy Pompoms \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e5 To end \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReferences \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAppendix – The Intention\/Reception Form Used in the Book \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGlossary \u003c\/b\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51019106156887,"sku":"9781032533278","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032533278.jpg?v=1750779321","url":"https:\/\/bookcurl.com\/products\/experiencing-organised-sounds-9781032533278","provider":"Book Curl","version":"1.0","type":"link"}