Hostname: page-component-6bf8c574d5-2jptb Total loading time: 0 Render date: 2025-02-22T08:08:06.504Z Has data issue: false hasContentIssue false
  • English
  • Français

Diversity, Interdisciplinarity, Language and House Style

Published online by Cambridge University Press:  05 March 2015

Rosemary Mountain
Rosemary Mountain*
Affiliation:
Concordia University, 1455 de Maisonneuve Blvd West, GM 500, Montreal, QC, Canada, H3G 1M8
*
Email: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

In celebration of the twentieth anniversary of Organised Sound, the author browses past issues of the journal to explore its multidisciplinary facets and potential for ‘knowledge transfer’ to cognate areas. It is pointed out that despite the journal’s apparent ‘house style’, the written texts contain subtle variations according to disciplinary concerns and author’s perspective, and should be understood as one strand of a multi-modal form of expression, to be augmented by remembered aural and bibliographic references and associated conference discussions as well as the more obvious visual and sonic accompanying material.

Type
Articles
Information
Organised Sound , Volume 20 , Issue 1: Special issue: Organised Sound Celebrates 20 Years , April 2015 , pp. 10 - 14
Copyright
© Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

BIBILIOGRAPHYOrganised Sound volumes mentioned

10/1 – New Technology, Non-Western Instruments and Composition (April 2005)

13/1 – New Aesthetics and Practice in Experimental Electronic Music (April 2008)

15/2 – Organising Electroacoustic Music (2010)

18/2 – Special Issue 02 (Best Practices in the Pedagogy of Electroacoustic Music and its Technology) (August 2013)

19/2 – Special Issue 02 (The Sound of Cultures) (August 2014)

Other references

Cook, Perry. 2007. Review of Digital Musical Instruments: Control and Interaction beyond the Keyboard, Eduardo Reck Miranda and Marcelo M. Wanderley. Organised Sound 12(2): 184–185.Google Scholar
Fraser, Julius T. 1982. The Genesis and Evolution of Time: A Critique of Interpretations in Physics. Amherst: University of Massachusetts Press.Google Scholar
Godøy, Rolf Inge. 2006. Gestural-Sonorous Objects: Embodied Extensions of Schaeffer's Conceptual Apparatus. Organised Sound 11(2): 149–157.Google Scholar
Godøy, Rolf Inge. 2010. Images of Sonic Objects. Organised Sound 15/1: 54–62.Google Scholar
Hunt, Andy and Wanderley, Marcelo M. 2002. Mapping Performer Parameters to Synthesis Engines. Organised Sound 7(2): 97–108.Google Scholar
Miranda, Eduardo Reck and Wanderley, Marcelo M. 2006. Digital Musical Instruments: Control and Interaction beyond the Keyboard. Middleton, WI: A-R Publications.Google Scholar
Mountain, Rosemary. 2004. Theories Market: Open for Trading. Organised Sound 9(1): 15–26.Google Scholar
Norman, Katharine. 2004. Sounding Art: Eight Literary Excursions through Electronic Music. Aldershot: Ashgate.Google Scholar
Wanderley, Marcelo M. and Battier, Marc. (eds). 2000. Trends in Gestural Control of Music. Paris: IRCAM – Centre Pompidou.Google Scholar
Winters, R. Michael and Wanderley, Marcelo M.. 2014. Sonification of Emotion: Strategies and results from the intersection with music. Organised Sound 19(1): 60–69.CrossRefGoogle Scholar
Xenakis, Iannis. 1965. La voie de la recherche et de la question. Preuves 177: 33–36.Google Scholar