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Sound Sculpture: Sounds, Shapes, Public Participation, Education
Leonardo, 1987Beginning with a new definition of musical instruments, Francois Baschet analyzes various ways of making sounds without the help of electronics. He then examines different fields in which sound-producing sculptures and instruments can be used. Bernard Baschet focuses on the applicability of sound sculpture to music education.
Francois Baschet, Bernard Baschet
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Beak Disorder: A Sound and Sculpture Installation
Leonardo, 2018This paper discusses Leslie Sharpe’s sound and sculpture installation project “Beak Disorder,” exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States.
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The Relocation of Ambient Sound: Urban Sound Sculpture
Leonardo, 1987The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new ...
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Dirge: Black and Indigenous Hemispheric Burial, A Sound Sculpture
ASAP/Journal, 2022Tao Leigh Goffe +11 more
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"Kinesone I": A Kinetic Sound Sculpture
Leonardo, 1986Kinesone I was developed by an interdisciplinary team engaged in finding ways to integrate auditory and visual experience. The resulting kinetic sound-sculpture consists of 14 mobile assemblies, each of which produces a different musical tone when set in motion by the wind.
Lin Emery, Robert Morriss
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Making Sculptures Audible through Participatory Sound Design
Leonardo Music Journal, 2013A research group explores rendering sculptural forms as sound using echolocation and the participation of members of the visually impaired community.
Florian Grond +2 more
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Sculptural sounds: a co-compositional approach
RUUKKU - Studies in Artistic Research, 2020This article discusses a specific approach to sound from a sculptural perspective, based on an innovative process named "co-composition", in which physical and sonic material can be concurrently produced, rearranged and transformed in a solo environment.
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