The first work, which proposes a comprehensive musicological framework for the study of sound music, is a rapidly developing work that includes electroacoustic art music, composition of turntables and acoustic and digital sound installations.
The art of sound organization, also known as electroacoustic music, uses sounds that are not available for traditional music making, including recorded, synthesized and processed sounds. The work of such music-based sounds (including electroacoustic art music, record player compositions, computer games, and acoustic and digital sound installations) has developed faster than their musicology. Understanding the art of sound organization provides the first general framework for studying the art of sound organization, defining terms, discussing relevant musical forms, categorizing works, and setting up sound-based music in interdisciplinary contexts. Leigh Landy's goal in this book is not just 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 calls "something to which he relates For example, by connecting elements in a work with everyday experience. Landy looks at the difficulties in categorizing works and discusses such types of works as sound art and electroacoustic music, pointing out where they overlap and how they differ from each other. He suggests a "sound-based music paradigm" that goes beyond traditional categories like art and pop music. Landy defines patterns that suggest a general framework, and places the study of sound music in interdisciplinary contexts, from acoustics to semiotics. It proposes a holistic research approach that takes into account the interconnectedness of the history, theory, technological aspects and social impact of a particular work.
The author's ElectroAcoustic Resource Site (EARS, www.ears.dmu.ac.uk), whose architecture matches the structure of this book, provides updated summaries of bibliographic resources and related information.
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