Browsing by Author "Landy, Leigh"
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Item Open Access A-political piece(2018-04-03) Landy, LeighThis composition, for one or more sudophones, involves 'statements by one or more known contemporary politicians, ideally a text(s) that would amuse or stun the audience under normal circumstances' played via a 'dirty electronics' instrument which will make comprehension virtually impossible. It is made as part of the 'Creative Europe' Programme Interfaces project.Item Metadata only About the Electroacoustic Resource Site (EARS) Project(Sonic Arts Network, 2003-11) Landy, Leigh; Atkinson, SimonA brief description of the EARS projectItem Metadata only The Analysis of Electroacoustic Music, the Differing Needs of its Genres and Categories(Electroacoustic Music Studies Network, 2012) Landy, Leigh; Emmerson, SimonThis paper reports on our (Arts and Humanities Research Council funded) project New Multimedia Tools for Electroacoustic Music Analysis, designed for a range of genres, drawing together existing methods, engaging the latest interactive and hypermedia tools, and applying them to compare their strengths and weaknesses. This depends on mutually interactive questions such as which tools/approaches, for which works/genres, for which users, with what intentions. We will report on newly developed applications – EAnalysis (Pierre Couprie), OREMA (Online Repository for Electroacoustic Music Analysis) (Michael Gatt) – a forum for sharing and discussing analyses – and preparations for a major new publication ‘Expanding the Horizon of Electroacoustic Music Analysis’ (CUP). We initially divided this field into genres or ‘practices’ (e.g. acousmatic, electronica, glitch); but these have hybridised continuously – an installation may include algorithmic generation, be interactive, and use soundscape and acousmatic materials. We need a range of tools for analysis. Descriptions refer to materials or to methods of organisation, but this distinction cannot be maintained. From the listener’s viewpoint, does knowledge of a generative algorithm influence perception and hence analysis? Analysis may include socially situated characteristics of production, perception and consumption. Glitch and hacking works analysed from their sound alone would surely lose a substantial part of their meaning. How to capture these additional dimensions, including emotional response? What other traces should run in parallel to standard transcription? Any analytical procedure must balance the gravitational pull of genre with a networked, relativistic world of characteristics which reconfigure depending on initial questions.Item Metadata only Analysis without ink.(L'Harmattan, 2001) Landy, LeighItem Metadata only Aplican Términos y Condiciones(2021-12-20) Landy, LeighThis is the 7th in the composer's Radio Series and was commissioned by the Mexican Centre for Music and Sonic Arts (CMMAS), Morélia, Mexico with support from UNAM/ENES for the recording of the source material.Item Metadata only Art for Goodness(’) Sake: It’s your tea party and you can cry if you want to(Electroacoustic Music Studies Network, 2011) Landy, LeighItem Metadata only Book review: Jacqueline Oskamp. Onder Strrom: Geschiedenis van de elektronische muziek in Nederland(Cambridge University Press, 2011) Landy, LeighItem Metadata only Book review: Thomas Licata, ed. Electroacoustic Music: Analytical Perspectives.(Notes, the Quarterly Journal of the Music Library Association, 2003-09) Landy, LeighN/AItem Metadata only Book reviews, James Saudners, ed. The Ashgate Research Companion to Experimental Music.(Ashgate, 2010) Landy, LeighItem Metadata only Book reviews: Bernd Schulz, ed. Felix Hess: Light as Air, Robin Minard: Silent Music – Between Sound Art and Acoustic Design, Christine Kubisch, KlangRaumZeitLicht,(Cambridge University Press, 2003-08) Landy, LeighN/AItem Metadata only Item Metadata only But Is It (Also) Music?(Routledge, 2017-01-03) Landy, LeighThis invited chapter to the Companion volume attempts to situation composition with sounds (as opposed to notes) primarily within music today, but also makes links with fine art, digital arts and sound studies.Item Metadata only China/Music 中國/音樂 Old/New 舊/新(2013) Landy, LeighItem Metadata only Chinese Radio Sound – 中国广播之声(2013) Landy, LeighItem Metadata only Co-hear-ence and electroacoustic music.(2000) Landy, LeighItem Metadata only Comment l'analyse fondée sur l'écoute peut-elle faciliter la compréhension et l'appréciation de la musique électroacoustique?(Éditions Delatour, 2015-12) Landy, LeighComme vous pouvez le constater, j’ai plus ou moins tiré mon titre du thème de la session, tout en y ajoutant quelques mots – en particulier, « appréciation » – j’y viendrai plus bas. Je prévois d’adhérer autant que possible au thème de ces deux journées. J’aimerais commencer par présenter la structure de ce discours. Vu l’atmosphère relativement « traditionnelle » de cette conférence EuroMAC et le fait que j’ai rarement l’occasion de faire les choses de manière traditionnelle, j’ai pensé qu’il serait drôle de proposer une « forme sonate » pour ce discours. L’exposition risque de paraître manquer de modestie : j’y parlerai de projets auxquels j’ai participé ou que j’ai réalisés et dont je crois qu’ils sont pertinents pour notre session sur l’écoute et l’analyse. La section centrale (développement), porte sur nous tous participants à cette session, et explore le domaine proposé par Nicolas Marty ainsi que la façon dont les participants se sont approprié ces idées dans les contributions du premier jour. Dans la courte section finale (récapitulation et coda), j’essaierai de regarder vers l’avenir – ce sera la partie la plus spéculative, potentiellement problématique, de ce discours. Aussi vous pourrez à tout moment savoir où vous vous situez dans cette structure. Si vous avez l’impression que quelque chose que je dis a été présenté auparavant, je serai très certainement passé au développement ou à la récapitulation.Item Metadata only The Compose with Sounds website - cws.dmu.ac.uk(DMU, 2013) Landy, LeighThis is the focal point of the Compose with Sounds software made as part of an EU Culture projectItem Metadata only Compose with Sounds, version 2(2019-03-12) Landy, Leigh; Pearse, StephenItem Open Access Compose Your Words(Intelligent Arts, 2014-12-24) Landy, LeighThis is an introductory short eBook offering people the experience to discover the potential of making music with words and other vocal sounds. It was commissioned by the US publisher, Intelligent Arts and is distributed by way of the normal eBook channels such as Amazon.Item Open Access Composing with Sounds: Designing an Object-Oriented DAW for the Teaching of Sound-Based Composition(Sound and Music Computing Conference, 2019-05-25) Landy, Leigh; Pearse, Stephen; Chapman, Duncan; Holland, David; Eniu, MihaiThis paper presents and discusses the ComposeWith Sounds (CwS) Digital AudioWorkstation (DAW) and its approach to sequencing musical materials. The system is designed to facilitate the composition within the realm of Sound-based music wherein sound objects (real or synthesised) are main musical unit of construction over traditional musical notes. Unlike traditional DAW’s or graphical audio programming environments (such as Pure Data, Max MSP etc.) that are based around interactions with sonic materials within tracks or audio graphs, the implementation presented here is based solely around sound objects. To achieve this a bespoke cross-platform audio engine known FSOM (Free Sound Object Mixer) was created in C++. To enhance the learning experience, imagery, dynamic 3D animations and models are used to allow for efficient exploration and learning. All tools within the system are controlled by a flexible permissions system that allows users or workshop leaders to create sessions with specific features based on their requirements. The system is part of a suite of pedagogical tools currently in development for the creation of experimental electronic music.