Table of Contents

Introduction to the Series, Editor's Introduction, Preface, Acknowledgements, PRELUDE, Chapter 1: What is Sonic Art?, PART 1: THE SONIC CONTINUUM, Chapter 2: Beyond the pitch/ duration paradigm, Chapter 3: Pythagoras, Fourier, Helmholtz: towards a phenomenology of sound, Chapter 4: The nature of sonic space, Chapter 5: Sound structures in the continuum, Chapter 6: Gesture and counterpoint, PART 2: LANDSCAPE, Chapter 7: Sound landscape, Chapter 8: Sound-image as metaphor: music and myth, Chapter 9: Is there a natural morphology of sounds?, Chapter 10: Spatial motion, PART 3: UTTERANCE, Chapter 11: Utterance, Chapter 12: The human repertoire, Chapter 13: Phonemic objects, Chapter 14: Language stream and paralanguage, Chapter 15: The group, CODA, Chapter 16: Beyond the instrument: sound models, Bibliography, Music Examples, Music References, Index

About the Author

Trevor Wishart is a composer, living and working in the North of England. His musical works cover a wide range, from environmental music events staged in specific outdoor locations (Beach Singularity, 1977) through musical theatre works using props, staging and effects (Tuba Mirum, Gaudeamus prizewinner, 1979) to major electroacoustic works (Red Bird, prizewinner, Bourges, 1978) and the exploration of extended vocal techniques (Anticredos, 1980).

A co-author of the book Whose Music? A Sociology of Musical Languages, he has also been involved in developments in creative music education and recently designed and realized the 54-channel Soundscape of the Jorvik Viking Centre multimedia museum, the first of its kind in the UK. He is currently developing a software package to control the motion of several sound-sources in space.