The file attached to this record is the author's final peer reviewed version.Reflection on the author’s use of oral history recordings as source material in three electroacoustic works suggests ways in which complementary threads of storytelling and recorded memory can be shaped into purposefully directed forms
This collection derives from a conference held at the University of St. Andrews in 2006, one of an o...
Brochure outlining the purpose of oral history, with practical advice on how to conduct interviews, ...
Histories of electroacoustic music tend to converge around a limited set of grand narratives, which ...
This paper examines the use of oral history sound recording as a core element in electroacoustic mus...
In this paper I explore the unique contribution oral testimonies have made to contemporary historiog...
This paper investigates some of the ways in which composers and sound artists have used recordings o...
King’s Cross is stereo audio work for performance over loudspeakers. The main materials for the wor...
How do we thoroughly historicize the voice, or integrate it into our historical research, and how do...
This article offers insights into the historical symbiosis between oral history and radio and the re...
Speech Labs is the first history of the poetry audio archive. Its aim is to define how the poetic au...
Speech Labs is the first history of the poetry audio archive. Its aim is to define how the poetic au...
This dissertation uses both critical and creative means to engage theories of audiophonic art articu...
This paper discusses how different ways of defining the ontological status of recorded sound have de...
Throughout Western music from the 1960s until today—in genres and epochs ranging from concert music,...
The birth of electroacoustic music is associated with an era of creativity which is now firmly embed...
This collection derives from a conference held at the University of St. Andrews in 2006, one of an o...
Brochure outlining the purpose of oral history, with practical advice on how to conduct interviews, ...
Histories of electroacoustic music tend to converge around a limited set of grand narratives, which ...
This paper examines the use of oral history sound recording as a core element in electroacoustic mus...
In this paper I explore the unique contribution oral testimonies have made to contemporary historiog...
This paper investigates some of the ways in which composers and sound artists have used recordings o...
King’s Cross is stereo audio work for performance over loudspeakers. The main materials for the wor...
How do we thoroughly historicize the voice, or integrate it into our historical research, and how do...
This article offers insights into the historical symbiosis between oral history and radio and the re...
Speech Labs is the first history of the poetry audio archive. Its aim is to define how the poetic au...
Speech Labs is the first history of the poetry audio archive. Its aim is to define how the poetic au...
This dissertation uses both critical and creative means to engage theories of audiophonic art articu...
This paper discusses how different ways of defining the ontological status of recorded sound have de...
Throughout Western music from the 1960s until today—in genres and epochs ranging from concert music,...
The birth of electroacoustic music is associated with an era of creativity which is now firmly embed...
This collection derives from a conference held at the University of St. Andrews in 2006, one of an o...
Brochure outlining the purpose of oral history, with practical advice on how to conduct interviews, ...
Histories of electroacoustic music tend to converge around a limited set of grand narratives, which ...