Verfügbarkeit: Environmental sound artists :

Environmental sound artists :: in their own words /

Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The book presents a current perspective on the movement through a collection of personal writings by important environmental sou...

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Bibliographische Detailangaben
Hauptverfasser:	Bianchi, Frederick W. (VerfasserIn), Manzo, V. J. (VerfasserIn)
Format:	Elektronisch E-Book
Sprache:	English
Veröffentlicht:	New York, NY : Oxford University Press, [2016]
Schlagworte:	Soundscapes (Music) > History and criticism. Paysages sonores (Musique) > Histoire et critique. MUSIC > Genres & Styles > Classical. MUSIC > Reference. Soundscapes (Music) Klangkunst Klangobjekt Umland Criticism, interpretation, etc.
Online-Zugang:	Volltext
Zusammenfassung:	Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The book presents a current perspective on the movement through a collection of personal writings by important environmental sound artists.
Beschreibung:	Includes index.
Beschreibung:	1 online resource
Bibliographie:	Includes bibliographical references and index.
ISBN:	9780190234638 0190234636 0190234644 9780190234645

Internformat

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505	8		\|a Deep Earth Dome (2006-2008) The Significance of Listening to the Earth ; A Farewell to Wilderness? ; Chapter 6: The Place Where You Go to Listen : An Ecosystem of Sound and Light ; Mapping the Terrain ; The Colors of Noise and Tone ; "An Orchestration of Untouched Material" ; Chapter 7: Meltwater ; January 9, 2009 ; A Sense of Wonder ; Antarctica: Music from the Ice ; Meltwater ; Chapter 8: Hearing Curved Space ; Hearing Curved Space ; Midsummer Celebration, Kökar, Åland, Finland, Sunday, June 26, 2005 ; Outcome ; Chapter 9: River Listening ; Chapter 10: Sun Boxes.
505	8		\|a Chapter 11: Bridge Music and Tower Music Bridge Music ; Tower Music ; Chapter 12: Data as Music ; Audio Information Design Issues ; Chapter 13: Sonic Landscapes (finding a sense of place with my ears) ; DAY 0: Sidney International Airport-Arrival in a Non-Place. ; DAY 1: Western Riverina-Hearing the Old Birrego School. ; DAY 2: An open field-Listening to the Song of the tree. ; Day 4: The Murrumbidgee River-Mapping the mental soundscape. ; Day 6: A nearby water hole-In search of the "kinda-blue-bird." ; Day 7: The Old Birrego School-The ears warn, the eyes confirm.
505	8		\|a Day 9: The Strong's Farm-The ears inform. Day 12: How to save 100,000 on sensors (or how to open a window and listen). ; Epilogue ; Chapter 14: Sonic Migrations ; Migrations ; Sounding Underground ; Listening and Remembering -Networked Improvisation for Four Commuters ; Networked Migrations : Listening to and Performing the In-Between Space ; Final Reflection ; Chapter 15: Sound Architecture ; Chapter 16: The Sonic Ecology of Structures ; Chapter 17: Why Bring Nature into Your Music? ; Chapter 18: The Dawn Chorus ; Chapter 19: Bivvy Broadcasts.
505	8		\|a Chapter 20: A Philosophy of Eco-acoustics in the Interdisciplinary Project "Fragments of Extinction" Statement and Project Background ; Fragments, One Installation/Performance ; Part I: The Immersive Experience ; Part II: Nature Explained ; Part III: Nature Integrated ; Conclusions and Current Developments ; Coda ; Chapter 21: Towards Activist Sound ; Chapter 22: The Listening Experience of Paramnesia ; Paramnesia ; Daytime in Promenade ; Night-time in Repose ; Flashbacks ; Cadence ; Chapter 23: Musical Heuristics in Six Ecoacoustic Quintets.
520			\|a Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The book presents a current perspective on the movement through a collection of personal writings by important environmental sound artists.
500			\|a Includes index.
588	0		\|a Online resource; title from PDF title page (EBSCO, viewed August 29, 2016).
504			\|a Includes bibliographical references and index.
650		0	\|a Soundscapes (Music) \|x History and criticism.
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contents	COVER ; Environmental Sound Artists In Their Own Words; COPYRIGHT; CONTENTS ; FOREWORD ; PREFACE ; ACKNOWLEDGMENTS ; Introduction ; Chapter 1: Sonifications of Global Environmental Data ; Heat and the Heartbeat of the City ; N. ; Chapter 2: Sewer Pipe Organ ; Chapter 3: Biophonic Sound Sculptures in Public Spaces ; Chapter 4: A Philosophical Report from Work-in-Progress ; Means and Mechanisms ; Sound Monitoring ; Non-Linear Chaotic Circuits ; Compression of Time and Space ; Pinion Engraver Beetle ; A Further Metaphor ; Chapter 5: Listening to the Earth ; Earth Sound. Deep Earth Dome (2006-2008) The Significance of Listening to the Earth ; A Farewell to Wilderness? ; Chapter 6: The Place Where You Go to Listen : An Ecosystem of Sound and Light ; Mapping the Terrain ; The Colors of Noise and Tone ; "An Orchestration of Untouched Material" ; Chapter 7: Meltwater ; January 9, 2009 ; A Sense of Wonder ; Antarctica: Music from the Ice ; Meltwater ; Chapter 8: Hearing Curved Space ; Hearing Curved Space ; Midsummer Celebration, Kökar, Åland, Finland, Sunday, June 26, 2005 ; Outcome ; Chapter 9: River Listening ; Chapter 10: Sun Boxes. Chapter 11: Bridge Music and Tower Music Bridge Music ; Tower Music ; Chapter 12: Data as Music ; Audio Information Design Issues ; Chapter 13: Sonic Landscapes (finding a sense of place with my ears) ; DAY 0: Sidney International Airport-Arrival in a Non-Place. ; DAY 1: Western Riverina-Hearing the Old Birrego School. ; DAY 2: An open field-Listening to the Song of the tree. ; Day 4: The Murrumbidgee River-Mapping the mental soundscape. ; Day 6: A nearby water hole-In search of the "kinda-blue-bird." ; Day 7: The Old Birrego School-The ears warn, the eyes confirm. Day 9: The Strong's Farm-The ears inform. Day 12: How to save 100,000 on sensors (or how to open a window and listen). ; Epilogue ; Chapter 14: Sonic Migrations ; Migrations ; Sounding Underground ; Listening and Remembering -Networked Improvisation for Four Commuters ; Networked Migrations : Listening to and Performing the In-Between Space ; Final Reflection ; Chapter 15: Sound Architecture ; Chapter 16: The Sonic Ecology of Structures ; Chapter 17: Why Bring Nature into Your Music? ; Chapter 18: The Dawn Chorus ; Chapter 19: Bivvy Broadcasts. Chapter 20: A Philosophy of Eco-acoustics in the Interdisciplinary Project "Fragments of Extinction" Statement and Project Background ; Fragments, One Installation/Performance ; Part I: The Immersive Experience ; Part II: Nature Explained ; Part III: Nature Integrated ; Conclusions and Current Developments ; Coda ; Chapter 21: Towards Activist Sound ; Chapter 22: The Listening Experience of Paramnesia ; Paramnesia ; Daytime in Promenade ; Night-time in Repose ; Flashbacks ; Cadence ; Chapter 23: Musical Heuristics in Six Ecoacoustic Quintets.
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spelling	Bianchi, Frederick W., author. http://id.loc.gov/authorities/names/n89603658 Environmental sound artists : in their own words / Frederick Bianchi, V.J. Manzo. New York, NY : Oxford University Press, [2016] ©2016 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier COVER ; Environmental Sound Artists In Their Own Words; COPYRIGHT; CONTENTS ; FOREWORD ; PREFACE ; ACKNOWLEDGMENTS ; Introduction ; Chapter 1: Sonifications of Global Environmental Data ; Heat and the Heartbeat of the City ; N. ; Chapter 2: Sewer Pipe Organ ; Chapter 3: Biophonic Sound Sculptures in Public Spaces ; Chapter 4: A Philosophical Report from Work-in-Progress ; Means and Mechanisms ; Sound Monitoring ; Non-Linear Chaotic Circuits ; Compression of Time and Space ; Pinion Engraver Beetle ; A Further Metaphor ; Chapter 5: Listening to the Earth ; Earth Sound. Deep Earth Dome (2006-2008) The Significance of Listening to the Earth ; A Farewell to Wilderness? ; Chapter 6: The Place Where You Go to Listen : An Ecosystem of Sound and Light ; Mapping the Terrain ; The Colors of Noise and Tone ; "An Orchestration of Untouched Material" ; Chapter 7: Meltwater ; January 9, 2009 ; A Sense of Wonder ; Antarctica: Music from the Ice ; Meltwater ; Chapter 8: Hearing Curved Space ; Hearing Curved Space ; Midsummer Celebration, Kökar, Åland, Finland, Sunday, June 26, 2005 ; Outcome ; Chapter 9: River Listening ; Chapter 10: Sun Boxes. Chapter 11: Bridge Music and Tower Music Bridge Music ; Tower Music ; Chapter 12: Data as Music ; Audio Information Design Issues ; Chapter 13: Sonic Landscapes (finding a sense of place with my ears) ; DAY 0: Sidney International Airport-Arrival in a Non-Place. ; DAY 1: Western Riverina-Hearing the Old Birrego School. ; DAY 2: An open field-Listening to the Song of the tree. ; Day 4: The Murrumbidgee River-Mapping the mental soundscape. ; Day 6: A nearby water hole-In search of the "kinda-blue-bird." ; Day 7: The Old Birrego School-The ears warn, the eyes confirm. Day 9: The Strong's Farm-The ears inform. Day 12: How to save 100,000 on sensors (or how to open a window and listen). ; Epilogue ; Chapter 14: Sonic Migrations ; Migrations ; Sounding Underground ; Listening and Remembering -Networked Improvisation for Four Commuters ; Networked Migrations : Listening to and Performing the In-Between Space ; Final Reflection ; Chapter 15: Sound Architecture ; Chapter 16: The Sonic Ecology of Structures ; Chapter 17: Why Bring Nature into Your Music? ; Chapter 18: The Dawn Chorus ; Chapter 19: Bivvy Broadcasts. Chapter 20: A Philosophy of Eco-acoustics in the Interdisciplinary Project "Fragments of Extinction" Statement and Project Background ; Fragments, One Installation/Performance ; Part I: The Immersive Experience ; Part II: Nature Explained ; Part III: Nature Integrated ; Conclusions and Current Developments ; Coda ; Chapter 21: Towards Activist Sound ; Chapter 22: The Listening Experience of Paramnesia ; Paramnesia ; Daytime in Promenade ; Night-time in Repose ; Flashbacks ; Cadence ; Chapter 23: Musical Heuristics in Six Ecoacoustic Quintets. Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The book presents a current perspective on the movement through a collection of personal writings by important environmental sound artists. Includes index. Online resource; title from PDF title page (EBSCO, viewed August 29, 2016). Includes bibliographical references and index. Soundscapes (Music) History and criticism. Paysages sonores (Musique) Histoire et critique. MUSIC Genres & Styles Classical. bisacsh MUSIC Reference. bisacsh Soundscapes (Music) fast Klangkunst gnd Klangobjekt gnd Umland gnd http://d-nb.info/gnd/4315899-7 Criticism, interpretation, etc. fast Manzo, V. J., author. http://id.loc.gov/authorities/names/n2011002735 has work: Environmental sound artists (Text) https://id.oclc.org/worldcat/entity/E39PCH6Qr86wjb3FQhYtY7VV4q https://id.oclc.org/worldcat/ontology/hasWork Print version: Bianchi, Frederick W. Environmental sound artists. New York, NY : Oxford University Press, [2016] 9780190234614 019023461X (DLC) 2015040788 (OCoLC)927241594 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1244392 Volltext
spellingShingle	Bianchi, Frederick W. Manzo, V. J. Environmental sound artists : in their own words / COVER ; Environmental Sound Artists In Their Own Words; COPYRIGHT; CONTENTS ; FOREWORD ; PREFACE ; ACKNOWLEDGMENTS ; Introduction ; Chapter 1: Sonifications of Global Environmental Data ; Heat and the Heartbeat of the City ; N. ; Chapter 2: Sewer Pipe Organ ; Chapter 3: Biophonic Sound Sculptures in Public Spaces ; Chapter 4: A Philosophical Report from Work-in-Progress ; Means and Mechanisms ; Sound Monitoring ; Non-Linear Chaotic Circuits ; Compression of Time and Space ; Pinion Engraver Beetle ; A Further Metaphor ; Chapter 5: Listening to the Earth ; Earth Sound. Deep Earth Dome (2006-2008) The Significance of Listening to the Earth ; A Farewell to Wilderness? ; Chapter 6: The Place Where You Go to Listen : An Ecosystem of Sound and Light ; Mapping the Terrain ; The Colors of Noise and Tone ; "An Orchestration of Untouched Material" ; Chapter 7: Meltwater ; January 9, 2009 ; A Sense of Wonder ; Antarctica: Music from the Ice ; Meltwater ; Chapter 8: Hearing Curved Space ; Hearing Curved Space ; Midsummer Celebration, Kökar, Åland, Finland, Sunday, June 26, 2005 ; Outcome ; Chapter 9: River Listening ; Chapter 10: Sun Boxes. Chapter 11: Bridge Music and Tower Music Bridge Music ; Tower Music ; Chapter 12: Data as Music ; Audio Information Design Issues ; Chapter 13: Sonic Landscapes (finding a sense of place with my ears) ; DAY 0: Sidney International Airport-Arrival in a Non-Place. ; DAY 1: Western Riverina-Hearing the Old Birrego School. ; DAY 2: An open field-Listening to the Song of the tree. ; Day 4: The Murrumbidgee River-Mapping the mental soundscape. ; Day 6: A nearby water hole-In search of the "kinda-blue-bird." ; Day 7: The Old Birrego School-The ears warn, the eyes confirm. Day 9: The Strong's Farm-The ears inform. Day 12: How to save 100,000 on sensors (or how to open a window and listen). ; Epilogue ; Chapter 14: Sonic Migrations ; Migrations ; Sounding Underground ; Listening and Remembering -Networked Improvisation for Four Commuters ; Networked Migrations : Listening to and Performing the In-Between Space ; Final Reflection ; Chapter 15: Sound Architecture ; Chapter 16: The Sonic Ecology of Structures ; Chapter 17: Why Bring Nature into Your Music? ; Chapter 18: The Dawn Chorus ; Chapter 19: Bivvy Broadcasts. Chapter 20: A Philosophy of Eco-acoustics in the Interdisciplinary Project "Fragments of Extinction" Statement and Project Background ; Fragments, One Installation/Performance ; Part I: The Immersive Experience ; Part II: Nature Explained ; Part III: Nature Integrated ; Conclusions and Current Developments ; Coda ; Chapter 21: Towards Activist Sound ; Chapter 22: The Listening Experience of Paramnesia ; Paramnesia ; Daytime in Promenade ; Night-time in Repose ; Flashbacks ; Cadence ; Chapter 23: Musical Heuristics in Six Ecoacoustic Quintets. Soundscapes (Music) History and criticism. Paysages sonores (Musique) Histoire et critique. MUSIC Genres & Styles Classical. bisacsh MUSIC Reference. bisacsh Soundscapes (Music) fast Klangkunst gnd Klangobjekt gnd Umland gnd http://d-nb.info/gnd/4315899-7
subject_GND	http://d-nb.info/gnd/4315899-7
title	Environmental sound artists : in their own words /
title_auth	Environmental sound artists : in their own words /
title_exact_search	Environmental sound artists : in their own words /
title_full	Environmental sound artists : in their own words / Frederick Bianchi, V.J. Manzo.
title_fullStr	Environmental sound artists : in their own words / Frederick Bianchi, V.J. Manzo.
title_full_unstemmed	Environmental sound artists : in their own words / Frederick Bianchi, V.J. Manzo.
title_short	Environmental sound artists :
title_sort	environmental sound artists in their own words
title_sub	in their own words /
topic	Soundscapes (Music) History and criticism. Paysages sonores (Musique) Histoire et critique. MUSIC Genres & Styles Classical. bisacsh MUSIC Reference. bisacsh Soundscapes (Music) fast Klangkunst gnd Klangobjekt gnd Umland gnd http://d-nb.info/gnd/4315899-7
topic_facet	Soundscapes (Music) History and criticism. Paysages sonores (Musique) Histoire et critique. MUSIC Genres & Styles Classical. MUSIC Reference. Soundscapes (Music) Klangkunst Klangobjekt Umland Criticism, interpretation, etc.
url	https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1244392
work_keys_str_mv	AT bianchifrederickw environmentalsoundartistsintheirownwords AT manzovj environmentalsoundartistsintheirownwords

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