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45 results

Page 1 of 3

  • Editorial: Bringing New Music to New Audiences

  • Leigh Landy
  • Journal:
    Organised Sound / Volume 24 / Issue 3 / December 2019
    Published online by Cambridge University Press:
    29 November 2019, pp. 225-227
    Print publication:
    December 2019
    • Article
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  • Re-composing Sounds … and Other Things

  • Leigh Landy
  • Journal:
    Organised Sound / Volume 24 / Issue 2 / August 2019
    Published online by Cambridge University Press:
    24 September 2019, pp. 130-138
    Print publication:
    August 2019

  • In this article, based on four decades of experience of using samples in diverse ways in experimental, particularly electroacoustic compositions, the author investigates the world of what he calls ‘sample-based sound-based music’ and suggests that there is a relative lack of scholarship in this important area. The article’s contextual sections focus on briefly delineating this world of sonic creativity and placing it within today’s sampling culture as well as dealing with two political aspects of sampling, a musician’s attitude towards the reuse of sonic materials and the legality of sampled sounds, including musical passages, in the discussion of which current legislation related to sampling is challenged. Following this, a number of categories are presented in terms of the types of sampling material that is being used as well as how sample-based works are presented. The subsequent section is perhaps the most poignant in the article, namely the opening up of this form of innovative composition from a more traditional ‘artist creates work’ mode of operation to a more collaborative one which is essentially already part of most other forms of sampling culture. The objective here is to suggest that such collaborative approaches will enable sample-based sound-based music to become part of the lives of a much broader group than those currently involved with it.

Expanding the Horizon of Electroacoustic Music Analysis
  • Edited by Simon Emmerson, Leigh Landy
  • Published online:
    05 April 2016
    Print publication:
    07 April 2016
  • 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.

  • 20 Years of Organised Sound: Looking back and forward

  • Leigh Landy
  • Journal:
    Organised Sound / Volume 20 / Issue 1 / April 2015
    Published online by Cambridge University Press:
    05 March 2015, pp. 1-9
    Print publication:
    April 2015
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  • Widening Participation in Electroacoustic Music: The EARS 2 pedagogical initiatives

  • Leigh Landy, Richard Hall, Mike Uwins
  • Journal:
    Organised Sound / Volume 18 / Issue 2 / August 2013
    Published online by Cambridge University Press:
    11 July 2013, pp. 108-123
    Print publication:
    August 2013

  • This articles sketches the history, vision and implementation of the ElectroAcoustic Resource Site 2 (www.ears2.dmu.ac.uk), also known as the EARS pedagogical site. EARS 2 was originally intended to act as a miniature version of the original EARS site (www.ears.dmu.ac.uk), created specifically for young people, thus a site introducing vocabulary and relevant publications. However, after careful consideration, it proved much more valuable to create an entire pedagogical environment introducing primarily, although not exclusively, children aged 11 to 14 to electroacoustic music in terms of its concepts, repertoire and creative practice. The Compose with Sounds software (www.cws.dmu.ac.uk) package has been specifically developed for this initiative and is introduced in this article along with the EARS 2 project. The contextual discussion focuses on the issue of making innovative music accessible to inexperienced audiences, and includes a discussion of the project goal of enhancing learning through technology behind this new initiative.

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