Keyword(s):Genres and Categories [G&C] , Musicology of Electroacoustic Music [MEM]
This article summarises the conclusions my recent book, “Understanding the Art of Sound Organisation”, a book that is based on recent years’ experience conceiving and directing the ElectroAcoustic Resource Site (www.ears.dmu.ac.uk). It is based on two worries: 1) current terminology usage in the field is at best fluid and at worst in a fairly weak state, especially category and genre terminology; and 2) the field of Electroacoustic Music Studies (EMS), instead of engaging in foundational issues that have yet to be resolved, tends to focus on aspects of investigation at higher levels. I often describe this situation as follows: if EMS publications were to be presented in the form of a building, there would be a significant number of upper floor suites and rooms inhabited, but at least some of the foundation has yet to be designed. This unusual architecture is reflected in patterns that are emerging on the EARS site’s rapidly growing bibliography.
All references of the same author:
(English)Landy, Leigh (1988). How Often Have you Seen Your Compositions Performed? A Plea for More Audio-visual Collaborations in Experimental Music
Landy, Leigh (1990). Is More than Three Decades of Computer Music Reaching the Public It Deserves?
Landy, Leigh (1991). What's the Matter with Today's Experimental Music: Organized Sound too Rarely Heard
Landy, Leigh (1993). Sound Transformations in Electroacoustic Music
Landy, Leigh (1994a). Experimental Music Notebooks
Landy, Leigh (1994b). ‘The Something to Hold on to Factor' in Electroacoustic Timbral Composition
Landy, Leigh (1994c). Composition and Performance in the 1990s.
Landy, Leigh (1995). Computer-Musik ein guter Grund, zu Hause zu bleiben? Ja und nein
Landy, Leigh (1996). Quality and Quantity (if we're lucky) or Marcuse's problem ain't been solved yet
Landy, Leigh (1998a). L'espace divisé vs. l'espace unifié (la separation est-elle en train de disparaître?)
Landy, Leigh (1998b). Digital Music Technology Can Aid in Bringing Music Back as a Part of Life
Landy, Leigh (1999a). Reviewing the Musicology of Electroacoustic Music: A plea for greater triangulation
Landy, Leigh (1999b). Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship
Landy, Leigh (2000a). Music as Organised Notes and Sound: The electronic works of Ton de Leeuw
Landy, Leigh (2000b). Co-hear-ence and Electroacoustic Music
Landy, Leigh (2001a). From Algorithmic Jukeboxes to Zero-time Synthesis: A potential A-Z of music in tomorrow's world (a conference provocation)
Landy, Leigh (2001b). Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis
Landy, Leigh (2002a). The Emancipation of Sound in that Box We Call a Theatre
Landy, Leigh (2002b). La synthèse sonore: enfin l'émancipation?
Landy, Leigh (2003a). Voulez-vous changer votre paradigme avec moi ce soir?
Landy, Leigh (2004). There's Good News and There's Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to
Landy, Leigh (2006a). The Intention/Reception Project
Landy, Leigh (2006b). La Zététique: Musique mixte créée en collaboration
Landy, Leigh (2007a). Understanding the Art of Sound Organization
Landy, Leigh (2007b). La musique des sons/The Music of Sounds
Landy, Leigh (2007c). The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: Going global and addressing the young
Landy, Leigh (2007d). The ElectroAcoustic Resource Site (EARS)
(Français)Landy, Leigh (1998a). L'espace divisé vs. l'espace unifié (la separation est-elle en train de disparaître ?)
Landy, Leigh (2002b). La synthèse sonore : enfin l'émancipation ?
Landy, Leigh (2006b). La Zététique : Musique mixte créée en collaboration
Landy, Leigh (2007b). La musique des sons