Leigh Landy - Böcker

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).

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.

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.

This book investigates two areas in which the appreciation of sonic creativity can be easily acquired across diverse cultures, ages and interests: the music of sounds – making music with any sounds, part of today’s sampling culture and the music of things – and the creation of instruments using existent materials (another type of sampling?) involving the notion of ‘instrument as composition’ as part of today’s DIY (or DIT, do it together) culture.The book offers broad discussions regarding the music of things (written by John Richards) followed by the music of sounds (written by Leigh Landy). These chapters are followed by a focus on the workshop demonstrating the collaborative and inclusive potential in both areas, and a spotlight on eight artists with a broad diversity of backgrounds and approaches to sound and music who discuss their perceptions. The book’s conclusion focuses on similarities and differences between the music of sounds and the music of things, suggesting, finally, that both might form part of the 21st- century’s folk music landscape.The book is primarily aimed towards students interested in current forms of sonic creativity but will be of interest to those interested in broader issues of sampling culture, hacking and sound studies.

This book investigates two areas in which the appreciation of sonic creativity can be easily acquired across diverse cultures, ages and interests: the music of sounds – making music with any sounds, part of today’s sampling culture and the music of things – and the creation of instruments using existent materials (another type of sampling?) involving the notion of ‘instrument as composition’ as part of today’s DIY (or DIT, do it together) culture.The book offers broad discussions regarding the music of things (written by John Richards) followed by the music of sounds (written by Leigh Landy). These chapters are followed by a focus on the workshop demonstrating the collaborative and inclusive potential in both areas, and a spotlight on eight artists with a broad diversity of backgrounds and approaches to sound and music who discuss their perceptions. The book’s conclusion focuses on similarities and differences between the music of sounds and the music of things, suggesting, finally, that both might form part of the 21st- century’s folk music landscape.The book is primarily aimed towards students interested in current forms of sonic creativity but will be of interest to those interested in broader issues of sampling culture, hacking and sound studies.

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.

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. Leigh Landy investigates audio-visual applications that have hardly been explored, new timbres and sound sources, the discovery of musical space, new notations, musical politics, and the 'musical community' in an attempt to incite more composers, musicians and musicologists to get this music out into the works and to stimulate the creation of new experimental works.