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Making Music
with Sounds

Leigh Landy
MAKING MUSIC WITH SOUNDS

Making Music with Sounds offers a creative introduction to the art of making sound-
based music. It introduces the elements of making compositions with sounds and
facilitates creativity in school-age children, with the activities primarily for 11–14-
year-old students. It can also be used by people of all ages becoming acquainted
with this music for the first time.
Sound-based music is defined as the art form in which the sound, rather than
the musical note, is the basic unit and is closely related to electroacoustic music
and the sonic arts. The art of sound organisation can be found in a number of
forms of music—in film, television, theatre, dance and new media. Despite this,
there are few materials available currently for young people to discover how to
make sound-based music. This book offers a programme of development start-
ing from aural awareness, through the discovery and organisation of potential
sounds, to the means of generating and manipulating sounds to create sequences
and entire works. The book’s holistic pedagogical approach to composition also
involves aspects related to musical understanding and appreciation, reinforced by
the author’s online pedagogical ElectroAcoustic Resource Site (EARS II).

Leigh Landy is Director of the Music, Technology and Innovation Research

Centre at De Montfort University, UK. He is an active composer, editor of
the journal Organised Sound and co-founder of the Electroacoustic Music Studies
Network.
MAKING MUSIC
WITH SOUNDS

Leigh Landy

DE MONTFORT UNIVERSITY, UK

with Illustrations by Manuella Blackburn

LIVERPOOL HOPE UNIVERSITY, UK

First published 2012
by Routledge
711 Third Avenue, New York, NY 10017
Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2012 Taylor & Francis
The right of Leigh Landy to be identified as author of this work has been
asserted by him in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
Illustrations by Manuella Blackburn.
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.
Trademark Notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and
explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Landy, Leigh, 1951- author.
Making music with sounds / Leigh Landy.
pages cm
Includes bibliographical references.
1. Composition (Music) 2. Computer music—Instruction and study.
3. Soundscapes (Music)—Instruction and study. I. Title.
MT40.L26 2012
781.2'3—dc23
2011044494

ISBN13: 978–0–415–80678–7 (hbk)

ISBN13: 978–0–415–89846–1 (pbk)
ISBN13: 978–0–203–12064–4 (ebk)
Typeset in Bembo
by Swales & Willis Ltd, Exeter, Devon
CONTENTS

List of Illustrations vii

Preface x
Acknowledgements xiv

1 Crossing the Threshold 1

A Delineation of the Two Key Areas 2
Sound-Based Music 3
Making Music with Technology 5
The Book’s Approach 6
An Overview of Selected Genres and Categories
Related to Sound-Based Music 7

2 Discovering Music All Around Us 19

Discovering Soundscapes 20
A Word on Various Types of Listening 22
Investigating Soundscapes 24
Composing Soundscapes 47

3 The Sounds of Sound-Based Music 52

Finding Real-World Sounds 52
Recording (or Downloading) Sounds 55
Special Case: Sounds that Sound like Notes or Groups of
Notes 60
Synthetic Sounds 61
Sculpting with Sounds 68
vi Contents

4 Organising Sounds 1: Combining Sounds and Creating

Sonic Gestures 95
Placing Sounds in Sequences 96
Creating Vertical Relationships between Sounds 112
Creating, Analysing and Evaluating Sonic Gestures 114

5 Organising Sounds 2: Composing with Sounds 127

Placing Sound Sequences into Structures (or Sequencing
Sequences) 128
Varying Sounds, Gestures and Sequences in Time 154
Layering Sounds and Sequences Horizontally 155
Spatialising Sounds 158
To Have a Beat or Not to Have a Beat, That is an Important
Question 166
Allowing Music “to Breathe”—an Old Trick: Tension and
Release 167
Another Way of Working—Formalised Approaches 170
A Word about Performance 174
Making Sound Installations 176
Analysing and Evaluating Composed Work 177

6 Next Steps 180

Glossary 188
Bibliography and Recommended Reading 198
Index 204
LIST OF ILLUSTRATIONS

P.1 Making music with glasses and stones xi

1.1 A sound installation 4
2.1 Sounds can be heard everywhere 20
2.2 Some things can be heard as notes and as sounds 23
2.3 One way to notate pitch 28
2.4–2.5 Two ways to notate dynamics 32
2.6 An evocative way to notate sound quality 35
2.7 A prose score of a soundscape 36
2.8 An evocative score of a soundscape with a key 36
2.9 An evocative events score of a soundscape 37
2.10 An evocative soundscape score offering a sense of space 39
2.11 An evocative soundscape score demonstrating simultaneous
sonic events 40
2.12 An evocative soundscape score including aspects related to
density 42
2.13 An evocative sound-based score focused on levels of order
and disorder 43
2.14–2.16 Three images representing the time-based structure of
an urban soundscape 45–46
2.17 The voice can simulate almost any sound 46
2.18–2.20 Three ways to notate a potential soundscape piece 50
3.1 A potential storyboard 55
3.2–3.3 Learning where to place your microphone(s) can sometimes
be challenging 59
3.4 A graphic representation of the components of a real-world
sound 62
viii List of Illustrations

3.5 An evocative representation of microsound 65

3.6 An example of how cross-synthesis might work 67
3.7 A score representation of a loop 70
3.8 A tape recorder playing a short tape loop 70
3.9 A tape recorder playing a long tape loop 71
3.10 An example of an ADSR envelope image 73
3.11 Examples of high-pass, low-pass, band-pass and stopband
filters 75
3.12 An image of a sound after going through a comb filter 77
3.13–3.14 Images of a sound and its going through various delay
settings 78
3.15–3.16 So-called dry and wet reverberant spaces 80–81
3.17 A visual example of time stretch and compression of a
real-world sound 83
3.18 A visual representation of a sound transformation 85
3.19 A basso profundo birdcall 86
3.20 Tins being opened at different pitches in the form of an
arpeggio 86
3.21 An image representing a harmonised lawnmower 87
3.22 Two ways of illustrating a chorus effect 88
3.23–3.24 Amplitude and Frequency Modulation 91
3.25 One way of creating feedback 92
4.1 A sequence containing real-world sounds 97
4.2 A sequence being performed behind a curtain 98
4.3 A text-sound sequence score 101
4.4 A lettrist evocative score for the word “explosion” 103
4.5 A classified advertisement in any language can be used as a
score 104
4.6–4.7 Evocative score sequences using contextual and musical
symbols 106
4.8–4.9 Image- and text-based storyboard sequences 107
4.10 Working with layers of sound 113
4.11–4.13 Individual, multiple and composite gestures 115
4.14 A gesture sequence involving a squeaky door 116
4.15–4.17 Individual, multiple and composite gesture sequences 120
4.18–4.20 Three examples of onset/continuant/termination gestural
sequences 122
4.21 A host of potential onset, continuant and termination images 122
4.22 One combination taken from the previous illustration 123
4.23 An often-encountered sound-based musical gesture 123
4.24 A multiple gesture consisting of two interlocking individual
gestures 124
4.25 An image representing multi-directional motion 124
 List of Illustrations ix

5.1 How one might make a collage 138

5.2 An example of homogeneous whirling sounds 146
5.3–5.4 Two evocative scores of sequences with markers indicated 156
5.5–5.6 Sounds moving in loudspeaker and headphone listening
environments 159
5.7 A sound moving in a circular manner in an eight-channel
surround sound listening environment 162
5.8 A mixer with a “loudspeaker orchestra” 163
5.9–5.10 Dolby 5.1 and eight-channel surround sound systems 164
5.11 One way to allow chance to play a role while composing 172
5.12 Three different ways of triggering sounds 177
PREFACE

As a young child of nursery school age, I can remember the joy of the discovery
that I felt during a demonstration where it was shown that identical glasses with
different levels of liquid in them could produce numerous sounds when rubbed
or struck, as did rocks of various shapes and contours. Little did I know at the
time that this introduction was going to be highly relevant to the focus of my
future career.
In fact I had to postpone the continued discovery of the delights and the chal-
lenges of experimenting with music until my final year as a secondary school
student as I, and so many others, had no opportunity to find out about such
experimental sonic creativity in the interim. Early in my career I found the chal-
lenges posed by organising sounds—and most of these sounds would not qualify
to be called notes (think of the five-lined staff)—to be extremely gratifying, a
similar experience to the discovery made all those years ago with the glasses and
the stones, and it subsequently became the focus of my music and my writings
about music. It is the joy of composing music with this type of sonic content that
Making Music with Sounds is intended to share.

Why I Wrote this Book

Making Music with Sounds has been written due to my deeply rooted belief that the
music of sounds is potentially of interest to people of all ages and backgrounds.
Ironically, many people are not consciously aware of the fact that we can make
music with any sounds despite the fact that such forms of music can be heard
around the globe in a number of wide-ranging audio and audio-visual contexts,
including some computer games. This is indeed a shame for, as will be demon-
strated in the coming chapters, making music with sounds can be simultaneously
 Preface xi

"Are those notes or sounds?"

FIGURE P.1 Making music with glasses and stones

innovative and highly accessible. When people make music with sounds, at least
with sounds with which they are acquainted, they can be creatively involved with
music while experimenting with materials related to their shared aural experi-
ences. This allows them to make relationships between their daily lives and the
adventure of creativity, in our case sonic creativity. Making Music with Sounds
attempts to raise this consciousness through facilitating aural awareness and apply-
ing this awareness creatively using relevant tools and approaches.

Sound-Based Music
The term that we shall use for the type of music that I shall be focusing upon is
sound-based music*.1 There are other terms in use, such as sonic art*, electronic
and electroacoustic music*, that cover music of the same ground. These are intro-
duced in Chapter 1. I have defined sound-based music as follows: “the art form

1 All entries followed by an asterisk in this book can be found in the book’s glossary. The asterisk
only appears at the first usage of a term.
xii Preface

in which the sound, that is, not the musical note, is its basic unit” (Landy 2007a,
17). In a sense sound-based music can be found at the end of a continuum that
has note-based music at its other end. Many pieces of music move along this con-
tinuum or can be found to focus on a point somewhere in the middle.
Therefore, to speak of sound-based music without acknowledging its much
older partner, the music of notes, would be ridiculous. Similarly, although much
sound-based music uses technology, acoustic (that is non-amplified or techno-
logically treated) creativity is equally possible. Those stones and glasses could
make either note-based or sound-based music depending on the approach of
those playing them and no further technology is needed. Nonetheless, the major-
ity of this type of music making today involves the use of one or many forms of
technology as creative tools.

Readership
Making Music with Sounds is intended for music educators to facilitate creative
activity in sound-based music. Although I became aware of this phenomenon
when I was only three, and believe that many children could start working in
this area in primary education, the approach and examples have been pitched for
more mature children in the age group of 11–14. I am certain that many exam-
ples, called “activities” in this book, can easily be amended for younger pupils.
Similarly, the activities in this book can be adapted to older secondary students.
The book could also be used with people of all ages becoming acquainted with
this music for the first time, thus including university-level students.
I am of the belief that more music educators would provide the time for this
type of music if they were offered appropriate background information, as most
forms of music education training today do not include any or, at best, few of its
key components. Making Music with Sounds has been designed to present music
educators with both the background information as well as practical experience.

Focus on Composition
Making Music with Sounds focuses on the act of composition, whether this refers
to something made on one’s computer and performed from its hard disk or on
an MP3 or CD player or by way of real-time* performance, on stage, perhaps
improvised, perhaps involving remixes. This book focuses primarily on the act of
creation prior to performance as there is more than enough ground to cover to
keep us busy and, hopefully, excited for quite some time. What one does with
the approaches that are introduced in the following chapters is as diverse as the
musicians’ imaginations. Those completing the book’s curriculum can move on
to intermediate or even advanced software programs for sound-based composi-
tion and performance.
 Preface xiii

How to Use this Book

Learning situations will differ enormously:

• This book offers a complete curriculum, more than many teachers will be
able to deliver.
• Choose, sequence, time and tailor your teaching material to suit your own
learning situation based on the models. The amount of time a teacher needs
will vary from a few hours to perhaps several weeks or even longer. There-
fore, the amount of concepts and activities that you want to introduce will
vary in similar measure.
• Go through the entire book first. In this way, you will learn to be able to
create sound-based music yourself if you have never had the chance to do so
as well as to become acquainted with its concepts and its related genres.
• Choose or eventually adapt (some of) the activities into a form that is most
useful to your students.
• Combine verbal, still image, online sonic and multimedia content. Different
learning groups and certainly different individuals will react best to a certain
emphasis.
• There is a Glossary for terms and phrases that are of particular relevance to
this book. These are marked with an asterisk (*) when they first appear.
• Though created with the 11–14-year-old age group as its target audience,
people of all ages can find something useful in this book. Some of the more
sophisticated concepts, such as multiple and composite gestures at the end
of Chapter 4 or some of the activities focused on parameters, might be less
challenging for older students at secondary level than the younger secondary
audience.

The ElectroAcoustic Resource Site (EARS) Pedagogical Project

The EARS site (www.ears.dmu.ac.uk) provides a multi-lingual online reference
including glossary, index and bibliography of resources related to the field as well
as a number of publications that have been presented by way of this site. The next
phase, which is taking place in parallel with the writing of this book, called the
EARS II Pedagogical Project, offers an eLearning environment that complements
all aspects of this volume’s content where sound and other multimedia examples
can be found. Here particular skills can be acquired and creative challenges under-
taken utilising a user-friendly software program called Sound Organiser. There is
also an appreciation section in EARS II that can serve all involved in terms of
gaining understandings related to the repertoire upon which this book is focused.
The URL is: www.ears2.dmu.ac.uk.

Leigh Landy
October 2011
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