| Discipline | Music Technology, Electroacoustic music, sound art, sound sculpture |
|---|---|
| Language | English |
| Edited by | Leigh Landy |
| Publication details | |
| History | 1996–present |
| Publisher | |
| Frequency | Triannual |
| Standard abbreviations | |
| ISO 4 | Organised Sound |
| Indexing | |
| ISSN | 1355-7718 (print) 1469-8153 (web) |
| Links | |
Organised Sound is an international peer-reviewed academic journal which focuses on the rapidly developing methods and issues arising from the use of technology in music today.
Published three times a year, it concentrates upon the impact which the application of technology is having upon music in a variety of genres, including sound art, sound sculpture and music ranging from popular idioms to experimental electroacoustic composition. It thus provides a forum for those interested in electroacoustic music studies, its creation and related developments to share the results of their research as they affect musical issues. Whilst an accompanying CD/CD-ROM/DVD is sent to subscribers annually all media content is or will soon also be available online.
Organised Sound was founded in 1996. Its editor, Leigh Landy (De Montfort University, Leicester, UK), is assisted by a diverse range of associated and regional editors.
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Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means. Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar.
Glitch is a genre of electronic music that emerged in the 1990s. It is distinguished by the deliberate use of glitch-based audio media and other sonic artifacts.
Electroacoustic music is a genre of popular and Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments. It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales at the ORTF in Paris, the home of musique concrète, the Studio for Electronic Music in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 20th century.
Acousmatic music is a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance. It stems from a compositional tradition that dates back to the origins of musique concrète in the late 1940s. Unlike acoustic or electroacoustic musical works that are realized from scores, compositions that are purely acousmatic often exist solely as fixed media audio recordings.
Eduardo Reck Miranda is a Brazilian composer of chamber and electroacoustic pieces but is most notable in the United Kingdom for his scientific research into computer music, particularly in the field of human-machine interfaces where brain waves will replace keyboards and voice commands to permit the disabled to express themselves musically.
Founded in 1986, La Communauté électroacoustique canadienne / The Canadian Electroacoustic Community (CEC) is Canada's national electroacoustic / computer music / sonic arts organization and is dedicated to promoting this progressive art form in its broadest definition: from "pure" acousmatic and computer music to soundscape and sonic art to hardware hacking and beyond.
Brenda Hutchinson is an American composer and sound artist who has developed a body of work based on a perspective about interacting with the public and non-artists through personal, reciprocal engagement with listening and sounding. Hutchinson encourages her participants to experiment with sound, share stories, and make music. She often bases her electroacoustic compositions on recordings of these individual collaborative experiences, creating "sonic portraits" or "aural pictures" of people and situations.
Simon Emmerson is an electroacoustic music composer working mostly with live electronics. He was born in Wolverhampton, UK, on 15 September 1950.
Spectromorphology is the perceived sonic footprint of a sound spectrum as it manifests in time. A descriptive spectromorphological analysis of sound is sometimes used in the analysis of electroacoustic music, especially acousmatic music. The term was coined by Denis Smalley in 1986 and is considered the most adequate English term to designate the field of sound research associated with the French writer, composer, and academic, Pierre Schaeffer.
The Hellenic Electroacoustic Music Composers Association (HELMCA) is the only national association of electroacoustic music in Greece. It is registered as a nonprofit organization. Its members are active composers and sound artists who creatively use advances in music technology, producing a variety of musical forms of sonic art in their work. HELMCA became the official Greek federation of the International Confederation of Electroacoustic Music (ICEM) in June 2006, and it is the national member of the IREM. It has more than 70 members, and organizes national and international events.
David Worrall is an Australian composer and sound artist working a range of genres, including data sonification, sound sculpture and immersive polymedia as well as traditional instrumental music composition.
Leigh Landy is a composer and musicologist of Dutch and American citizenship. He holds a Research Chair at De Montfort University where he directs the Music, Technology and Innovation Research Centre.
Natasha Barrett is a British contemporary music composer specialising in electroacoustic art music. Her compositional aesthetics are derived from acousmatic issues. In addition to acousmatic concert music, she composes for instruments, live electronics, sound installations, multi-media works, real-time computer music improvisation, has made soundscapes for exhibitions, and music for contemporary dance and theater. Since 2000 her work has been influenced by spatialisation as a musical parameter, and the projection of 3-D sound-fields. She currently lives in Norway.
Margaret Mara Helmuth is an American composer. She studied at the University of Illinois Urbana–Champaign, and then continued her studies at Columbia University, graduating with a doctorate in music.
Priscilla McLean is an American composer, performer, video artist, writer, and music reviewer.
Marc Battier is a French composer and musicologist.
Thema (Omaggio a Joyce) is an electroacoustic composition by Luciano Berio, for voice and tape. Composed between 1958 and 1959, it is based on the interpretative reading of the poem "Sirens" from chapter 11 of the novel Ulysses by James Joyce by Cathy Berberian and on the elaboration of her recorded voice by technological means.
Alessandro Cipriani is an Italian composer of electronic music.
Edison Studio is a collective of composers and an electroacoustic music ensemble. It was founded in Rome in 1993 by the composers Mauro Cardi, Luigi Ceccarelli, Fabio Cifariello Ciardi e Alessandro Cipriani.
The International Documentation of Electroacoustic Music (EMDoku) is an extensive online database, which contains detailed information on over 51000 works, 11000 authors as well as media, labels and studios. Electroacoustic music is understood as an umbrella term for tape music, acousmatic music, electronic music, musique concrète, field recordings, computer music, radio art, sound art, sound installations, live electronics etc., and includes performances and venues such as concert hall, radio, film, installation, media and internet.
