Archive for the ‘References’ Category

Books (ongoing)

Tuesday, November 11th, 2008

Robert Ashley, Music with Roots in the Aether: Interviews With and Essays About Seven American Composers, (2000, MusikTexte Cologne)

David Dunn, Why do Whales and Children Sing? : A Guide to Listening in Nature  (1999, Earth Ear, Santa Fe New Mexico)

Morton Feldman, Give My Regards to Eighth Street: Collected Writings of Morton Feldman ed., B H Friedman (2000, Exact Change, Cambridge MA)

Alvin Lucier, Reflections: Interviews, Scores, Writings 1965 – 1994 /  Reflexionen: Interviews, Notationen, Texte 1965 – 1994 (1995, MusikTexte Cologne)

Pauline Oliveros, Deep Listening: A Composer’s Sound Practice, (2005, iUniverse Lincoln)

Dick Raaijmakers Cahier – M : A Brief Morphology of Electric Sound (2000 Orpheus Institute Gent, Leuven University Press)

Louis Andriessen, The Art of Stealing Time ed.,Mirjam Zegers (2002 Arc Publications, Lancashire UK)

Iannis Xenakis, Arts / Sciences: Alloys, The Thesis Defense of Iannis Xenakis (1985, Pendragon Press, New York)

Lucy Lippard Overlay: Contemporary Art and the Art of Prehistory (1983 Pantheon Books, New York)

Rebecca Solnit, Wanderlust: A History of Walking (2001, Verso, London)

Gregory Bateson, Steps to an Ecology of Mind (1972, Ballantine Books, New York)

Roy Ascott Telematic Embrace: Visionary Theories of Art, Technology and Consciousness ed., with essay by Edward Shanken (2003 University of California Press, Los Angeles)

Brandon LaBelle Background Noise: Perspectives on Sound Art (2007 Continuum, New York)

Barry Blesser and Linda-Ruth Salter Spaces Speak, Are you Listening?: Experiencing Aural Architecture (2007, MIT Press)

ed., Christopher Cox and Daniel Warner Audio Culture: Readings in Modern Music (2004, Continuum, New York)

ed., Ros Bandt, Michelle Duffy and Dolly Mackinnon Hearing Places: Sound, Place, Time, Culture (2007 Cambridge Scholars Publishing)

further with the score

Tuesday, October 7th, 2008

the question is to extend the ideas of navigation landscape and environment to explore musical issues pertaining to expanded consciousness and communications where the score is the central figure. the (musical) score is not just notation but an entity or process where the communications between people through sound and site are catalyzed and channeled.