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.
Both electroacoustic music and its associated musicology subjects based on personal experience or of a more are a half century old. Although the number of relevant general nature. technological developments during this time could be said to Nevertheless, the fact that the vast majority of be extremely high, its music has known relatively few scholarship emanates from within the community heroes, at least within contemporary art music, and written might not be an ideal situation. The terms emic and scholarship demonstrates a bias towards formalism and etic, which are used in ethnomusicology and fields therefore much less of one towards the contextual, having an association with anthropology, come to aesthetic, reception, etc. The previous sentence implies an mind. The former approach refers to 'an analysis that imbalance worthy of addressing. This article is less a survey reflects the viewpoint of native informants' (Nattiez of what exists in the area of electroacoustic music 1990: 61); the latter, 'an analysis accomplished only scholarship than one looking into delineating the area and suggesting where the 'holes in the market' might be and by means of the methodological tools and categories how they might be filled. Are the fields of sonic art and its of the researcher' (ibid., my own emphasis). As you musicology intentionally avoiding coherence? And why do can see, the latter need not necessarily imply an outmusicologists of the music of notes continue to avoid the sider, but does suggest detachment. The only 'outmusicology of the music of sounds? Finally, triangulation, siders' generally writing about the subject are i.e. the use of feedback and evaluation so rarely applied in journalists and the occasional musicologist. 2 The forelectroacoustic music(ologogical) contexts, is promoted as a mer group is useful for providing general contextual means to greater cohesion and understanding, avoiding what feedback, but not much more normally. The latter is is called an 'island mentality' demonstrated by many so unusual that these people are more or less autoindividuals working in all areas of the sonic arts. matically taken into the electroacoustic practitioners community, perhaps reducing the detachment referred to above.
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