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Sound and movie examples – issue 23(1)

Published online by Cambridge University Press:  22 December 2017

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DVD Information
Information
Organised Sound , Volume 23 , Special Issue 1: Context-based Composition , April 2018 , pp. 131
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Copyright
© Cambridge University Press 2017 

Sound and Movie examples from this issue 23(1) can already be found online at the journal’s website: www.journals.cambridge.org/OSO. Organised Sound has discontinued its production of DVDs with volume 20.

Carolyn Philpott

Promoting Environmental Awareness through Context-based Composition

4 Sound examples

Sound example 1: Lullaby for E Seals (2009) by Cheryl E. Leonard (excerpt) – 1′28″.

Sound example 2: White on White (2012) by Cheryl E. Leonard (excerpt) – 1′50″.

Sound example 3: Greater than 20 Knots (2009) by Cheryl E. Leonard (excerpt) – 1′44″.

Sound example 4: Ablation Zone (2013) by Cheryl E. Leonard (excerpt) – 1′06″.

(All sound examples have been provided with kind permission by the artist)

Diogo Alvim

As the World Leaks into the Work: Composition and architecture

4 Sound examples and 2 Movie examples

4 Sound examples

Sound example 1: Music for Sax and Boxes (2012) by Diogo Alvim – Live recording from performance by Franziska Schroeder and Diogo Alvim (excerpts) – 1′59″.

Sound example 2: Inside out (Situation#3) (2013) by Diogo Alvim – Live recording from performance by Franziska Schroeder and Diogo Alvim (excerpts) – 1′56″.

Sound example 3: Apartamento em Lisboa (narrador presente) (2014) by Diogo Alvim (excerpts in stereo) – 1′23″.

Sound example 4: Tłumaczenie (2015) by Diogo Alvim – Live recording from performance by The Royal String Quartet (excerpts) – 1′57″.

2 Movie examples:

Movie example 1: Play (2014) by Diogo Alvim and Matilde Meireles with Richard O’Sullivan (excerpts – see full credits at the end) – 2′01″.

Movie example 2: Travelogue#1 (2013) by Diogo Alvim (excerpts in stereo) – 1′51″.

Guillaume Côté and Guillaume Campion

Acousmatic Music as a Medium for Information: A case study of Archipel

9 Sound examples

Sound example 1: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′47″.

Sound example 2: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′10″.

Sound example 3: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′34″.

Sound example 4: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′42″.

Sound example 5: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′22″.

Sound example 6: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′33″.

Sound example 7: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′14″.

Sound example 8: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′28″.

Sound example 9: Archipel (2016) by Guillaume Campion and Guillaume Côté (excerpt) – 0′37″.

Iain Findlay-Walsh

Sonic Autoethnographies: Personal listening as compositional context

3 Sound examples

Sound example 1: ‘The Closing Ceremony’ composition (2015) by Iain Findlay-Walsh (excerpt 1) – 2′26″.

Sound example 2: ‘The Closing Ceremony’ composition (2015) by Iain Findlay-Walsh (excerpt 2) – 2′38″.

Sound example 3: ‘Born On’ composition (2015) by Iain Findlay-Walsh (excerpt) – 5′31″.