Understanding the art of sound organization / Leigh Landy.

Enhanced descriptions from Syndetics:

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. Leigh Landy is a composer and scholar. He is Director of the Music, Technology, and Innovation Research Centre at De Montfort University, U.K.

Table of contents provided by Syndetics

• Preface (p. vii)
• Introduction (p. 1)
• A Art Meets Daily Life (p. 1)
• Listening to Real-World Sounds in an Artistic Context
• B Commencing the Classification Debate (p. 5)
• Is Sound Art Music?
• C The Terminology Debate (p. 9)
• Defining the Main Terms
• 1 From Intention to Reception to Appreciation (p. 21)
• Offering Listeners Some Things to Hold On To
• A How Accessible Are Works of Organized Sound? (p. 21)
• B Communication from the Maker's and the Listener's Points of View (p. 35)
• C Further Issues Concerning Access and Sound-based Music (p. 62)
• Addendum: The Three Intention/Reception Project Questionnaires
• 2 From Concept to Production to Presentation to Theory (p. 67)
• Creating "Co-hear-ence"
• A Families of Approaches/Works of Organized Sound (p. 70)
• B A Return to the Classification Debate (p. 175)
• In Search of a Paradigm
• 3 Toward a Framework for the Study of Sound-based Artworks (p. 181)
• A To Start (p. 181)
• B The Proposed Framework (p. 187)
• C Looking Forward (p. 226)
• Appendix: The Keyword Index from the ElectroAcoustic Resource Site (EARS) (p. 231)
• Notes (p. 239)
• References (p. 259)
• Index (p. 287)

Author notes provided by Syndetics

Leigh Landy is a composer and scholar. He is Director of the Music, Technology, and Innovation Research Centre at De Montfort University, U.K.