Understanding the Art of Sound Organization

“Landy expertly charts the complex world of sound-based (as distinct from note-based) music in all its contemporary forms, visiting its major continents as well as exotic islands en route. Supported by the EARS website, he proposes a scholarly framework for understanding innovative work in this area, and provocatively calls for increased attention to listener reception, the accessibility and dramaturgy of such works, and their valorization as organized sound art forms.”–Barry Truax, School of Communication, and School for the Contemporary Arts, Simon Fraser University
“Leigh Landy’s book is more than a book. It’s an illuminating exploration of a new world of sound. He begins by defining ‘sound-based music’ as any type of music that uses sounds (instead of notes) as its basic material. He then looks at sound-based music from two complementary perspectives: the intent of the composer and the receptivity of the listener. His lucid discussions of composers’ intent, largely centered in “musique concrete, ” are in themselves well worth the purchase of the book. His discussions of listeners’ receptivity are provocative and fascinating. It’s worth noting that the book is linked in its concerns and structure to the EARS (ElectroAcoustic Resource Site) website that Landy supervises, and that the website - - provides an ongoing and invaluable knowledge resource for anyone interested in electronic music.“–Joel Chadabe, Founder and President, Electronic Music Foundation
“The contribution of Leigh Landy to the understanding of recent developments in music technology is paramount. Landy’s thoughts on electroacoustic music address the essence of this musical genre. This book is a captivating read for those of us who appreciate navigating the sea of new sounds.”–Marc Battier, Professor of Musicology, University Paris-Sorbonne
& quot; Landy expertly charts the complex world of sound-based (as distinct from note-based) music in all its contemporary forms, visiting its major continents as well as exotic islands en route. Supported by the EARS website, he proposes a scholarly framework for understanding innovative work in this area, and provocatively calls for increased attention to listener reception, the accessibility and dramaturgy of such works, and their valorization as organized sound art forms.& quot; – Barry Truax, School of Communication, and School for the Contemporary Arts, Simon Fraser University
& quot; Leigh Landy’s book is more than a book. It’s an illuminating exploration of a new world of sound. He begins by defining ‘sound-based music’ as any type of music that uses sounds (instead of notes) as its basic material. He then looks at sound-based music from two complementary perspectives: the intent of the composer and the receptivity of the listener. His lucid discussions of composers’ intent, largely centered in musique concr& egrave; te, are in themselves well worth the purchase of the book. His discussions of listeners’ receptivity are provocative and fascinating. It’s worth noting that the book is linked in its concerns and structure to the EARS (ElectroAcoustic Resource Site) website that Landy supervises, and that the website - - provides an ongoing and invaluable knowledge resource for anyone interested in electronic music.& quot; – Joel Chadabe, Founder and President, Electronic Music Foundation
& quot; The contribution of Leigh Landy to the understanding of recent developments in music technology is paramount. Landy’s thoughts on electroacoustic music address the essence of this musical genre. This book is a captivating read for those of us who appreciate navigating the sea of new sounds.& quot; – Marc Battier, Professor of Musicology, University Paris-Sorbonne
” The contribution of Leigh Landy to the understanding of recent developments in music technology is paramount. Landy’s thoughts on electroacoustic music address the essence of this musical genre. This book is a captivating read for those of us who appreciate navigating the sea of new sounds.” –Marc Battier, Professor of Musicology, University Paris-Sorbonne
” Landy expertly charts the complex world of sound-based (as distinct from note-based) music in all its contemporary forms, visiting its major continents as well as exotic islands en route. Supported by the EARS website, he proposes a scholarly framework for understanding innovative work in this area, and provocatively calls for increased attention to listener reception, the accessibility and dramaturgy of such works, and their valorization as organized sound art forms.” –Barry Truax, School of Communication, and School for the Contemporary Arts, Simon Fraser University
” Leigh Landy’s book is more than a book. It’s an illuminating exploration of a new world of sound. He begins by defining ‘sound-based music’ as any type of music that uses sounds (instead of notes) as its basic material. He then looks at sound-based music from two complementary perspectives: the intent of the composer and the receptivity of the listener. His lucid discussions of composers’ intent, largely centered in “musique concrè te,” are in themselves well worth the purchase of the book. His discussions of listeners’ receptivity are provocative and fascinating. It’s worth noting that the book is linked in its concerns and structure to the EARS (ElectroAcoustic Resource Site) website that Landy supervises, and that the website - - provides an ongoing and invaluable knowledge resource for anyone interested in electronic music.” –Joel Chadabe, Founder and President, Electronic Music Foundation

Leigh Landy is a composer and scholar. He is Director of the Music, Technology, and Innovation Research Centre at De Montfort University, U.K.

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