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A few sequential electroacoustic contributions

by Kieran Daly

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about

Recorded Summer 2021 in Chicago, IL
Thanks IMF, EW
Composed by Kieran Daly (2019-2021)
Cover image from Beran (2003)

Beeferman, G. (2018). Beyond the Big Band: Concepts and Strategies in Creative Orchestra Music (Doctoral dissertation, New York University).
Beran, J. (2003). Statistics in musicology. CRC Press.
Boehmer, K. (2002). Koenig-Sound Composition-Essay. Contributions To The Study Of Music And Dance, 63, 59-72.
Rachel Chant, S. (2006). The special composition question in action. Pacific Philosophical Quarterly, 87(4), 422-441.
Grabócz, M. (1997). Survival or renewal? Structural imagination in recent electroacoustic and computer music. Organised Sound, 2(2), 83-95.
Gygi, B., Kidd, G. R., & Watson, C. S. (2004). Spectral-temporal factors in the identification of environmental sounds. The Journal of the Acoustical Society of America, 115(3), 1252-1265.
Korman, D. Z. (2008). Unrestricted composition and restricted quantification. Philosophical Studies, 140(3), 319-334.
Lemaitre, G., Houix, O., Misdariis, N., & Susini, P. (2010). Listener expertise and sound identification influence the categorization of environmental sounds. Journal of Experimental Psychology: Applied, 16(1), 16.
Rogers, W. L., & Bregman, A. S. (1993). An experimental evaluation of three theories of auditory stream segregation. Perception & psychophysics, 53(2), 179-189.
Sanfilippo, D., & Valle, A. (2013). Feedback systems: An analytical framework. Computer Music Journal, 37(2), 12-27.
Truax, B. (2001). Acoustic communication. Greenwood Publishing Group.
Wishart, T. (1994). Audible design. York, UK: Orpheus the Pantomime.

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released July 26, 2021

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Madacy Jazz Philadelphia, Pennsylvania

admin: Sam Sfirri, Kieran Daly

Inquiries: kierod@gmail.com

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