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Sound Art|声音艺术

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Angus Carlyle (ed.) Autumn Leaves: Sound and the environment in artistic practice. Paris Double Entendre, 2007.

Artaud, Antonin. The Theater and Its Double. New York: Grove Press Inc., 1958.

Attali, Jacques. 1985. Noise: The political economy of music. Trans. Brian Massumi. Minneapolis, MN: University of Minnesota Press, 1985.

Bailey, Derek. 1992. Improvisation: Its nature and practice in music. New York: Da Capo Press, 1992.

Beal, Amy. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification. Berkeley: University of California Press, 2006.

Benitze, Joaquim M. “Avant-garde or experimental? Classifying contemporary music.” International Review of Aesthetics and Sociology in Muisc 9/1: 53-77, 1978.

Bull, Michael, and Les Back. The Auditory Culture Reader. Berg Publishers, 2004.

Cage, John. Silence. Middletown, Connecticut: Wesleyan University Press, 1961.

Cox, Christoph, and Daniel Warner, eds. Audio culture: Readings in modern music. New York: Continuum, 2004.

Goodman, Steve. Sonic Warfare: Sound, Affect, and the Ecology of Fear (Technologies of Lived Abstraction). The MIT Press. 2009.

Gann, Kyle. No Such Thing as Silence, John Cage’s 4’33’’. New Haven and London: Yale University Press, 2010.

Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. The MIT Press, 2001.

Labelle, Brandon. Background Noise: Perspectives on Sound Art. New York, London: Continuum, 2006.

Labelle, Brandon. Acoustic Territories: Sound culture and everyday life. New York, London: Contiuum, 2010.

Licht, Alan. Sound Art: Beyond Music, Between Categories. Rizzoli, 2007.

Schaffer, R. Murray. The Soundscape: Our Sonic Environment and the Turning of the World. Rochest, Vermont: Destiny Books, 1977.

Licht, Alan. “Sound Art: Origins, development and ambiguities”. Organized Sound 14(1): 3-10, Cambridge University Press. 2009.

Nyman, Michael. Experimental music: Cage and beyond. Music in the 20th century, 2nd ed. ed. Arnold Whittal. New York: Cambridge University Press, 1999.

O’Callaghan, Casey. Sounds: A Philosophical Theory. Oxford University Press, 2007.

Oliveros, Pauline. Deep listening : a composer’s sound practice. New York ; Lincoln, NE : iUniverse, Inc., 2005.

Prochnik, George. In Pursuit of Silence: Listening for Meaning in a World of Noise. New York, Longdon, Toronto, Sydney, Auckland: Doubleday, 2010.

Roade, Curtis. Microsound. The MIT Presse, 2004.

Rodgers, Tara. Rink Noises: Women on Electronic Music and Sound. Durham and London: Duke University Press, 2010.

Thomas Bey William Bailey. Micro-Bionic Radical Electronic Music and Sound Art in the 21st Century. Creation Book, 2009.

Toop, David. Sinister Resonance: The Mediumship of the Listener. Continuum, 2010.

Yan Jun and Louise Gray eds. Sound and The City. 2007.

Voegelin, Salome. Listening to noise and silence: Towards a philosophy of sound art. New York, London: Contiuum, 2010.



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