Sources

This page is an ongoing list of relevant writings and art. We’ve done our best to categorise sensibly but inevitably some things will be in unexpected places.

Instrument-specific resources

  • Benade, Arthur, (1990) Fundamentals of Musical Acoustics, 2nd. ed. (New York: Dover)
  • Bergeron, Thomas, (1989) Saxophone Multiphonics: a Scalar Model, University of Oregon (DMA Dissertation)
  • Bok, Henri, & Wendel, Eugen, (1989) New Techniques for the Bass Clarinet , Paris: Editions Salabert
  • Caravan, Ronald, (1974) Extensions of Technique for Clarinet and Saxophone, Rochester (NY): Eastman (DMA thesis)
  • Dick, Robert, (1975) The Other Flute, London: Oxford University Press
  • Dolak, Frank, (1980) Contemporary Techniques for the Clarinet, Lebanon (IN): Studio P/R
  • Farmer, Gerald, (1982) Multiphonics and other Contemporary Clarinet Techniques, Rochester (NY): SHALL-u-mo
  • Garbarino, Giuseppe, (2000) Metodo per Clarinetto, Milan: Editioni Suvini Zerboni
  • Gibson, Oscar-Lee, (1994) Clarinet Acoustics, Bloomington: Indiana University Press
  • Kientzy, Daniel, (1982) Multiple sounds for Saxophones, Paris: Editions Salabert
  • Liang, Jack (2018) Clarinet Multiphonics: A Catalog and Analysis of Their Production Strategies, Arizona State University (DMA Thesis)
  • Marchi, Joseph, (1994) Clarinet Studies: Harmonic and high-pitches, Paris: Editions Henry Lemoine
  • Rehfeldt, Philip, (1994) New Directions for Clarinet, 2nd ed., Oxford: Scarecrow
  • Raschér, Sigurd, (1962) Top Tones for the Saxophone, 3rd ed., New York: Carl Fischer
  • Roche, Heather, – Website multi-resource
  • Sève, Alain, (1998) Le paradoxe de la clarinette [in French], self-published
  • Spaarnay, Harry, (2012) The Bass Clarinet, 2nd ed., Barcelona: Periferia
  • Watts, Sarah, (2015) Spectral Immersions, London: Metropolis
  • Weiss, Marcus, & Nettl, Giorgio, (2010) The Techniques of Saxophone Playing, Kassel: Bärenreiter-Verlag

Music

Theory

  • Alarcon, Ximena, (2019) ‘Conceptual design for INTIMAL: a physical/virtual embodied system for Relational Listening’ Journal of Somaesthetics 4.2
  • Alaimo, Stacey, (2010) Bodily Natures: Science, Environment, and the Material Self (Bloomington: Indiana University Press)
  • Barad, Karen, (2008) ‘Why Matter Comes to Matter’, Signs: Journal of Women in Culture and Society 28.1 (Spring 2008)
  • Bennett, Jane, (2010) Vibrant Matter: A Political Ecology of Things (Durham, NC: Duke University Press)
  • Bovermann, Till, Alberto de Campo, Hauke Egermann, Sarah-Indriyati Hardjowirogo, Stefan Weinzierl, eds., (2017) Musical Instruments in the 21st Century: Identities, Configurations, Practices (Singapore: Springer Nature)
  • Brigstocke, Julian and Tehseen Nooran, (2015) Listening with Nonhuman Others (Lewes: ARN Press)
  • Brigstocke, Julian and Tehseen Nooran, (2016) ‘Posthuman Attunements: Aesthetics, Authority and the Arts of Creative Listening’ GeoHumanities 2.1
  • Campbell, Iain, (2017) ‘John Cage, Gilles Deleuze, and the Idea of Sound’, Parallax, 23.3, 361-378
  • Cox, Christoph, (2011) ‘Beyond Representation and Signification: Toward a Sonic Materialism’, Journal of Visual Culture, 10.2
  • Cox, Christoph, (2018) ‘Sonic Realism and Auditory Culture: A Reply to Marie Thompson and Annie Goh’, Parallax, 24.2 , 234-242
  • De Assis, Paolo (2018) Logic of Experimentation, Leuven: Leuven University Press
  • DeLanda, Manuel (2016) Assemblage Theory, (Edinburgh: Edinburgh University Press)
  • Devorah, Rachel, (2017) ‘Ocularcentrism, Androcentrism’, Parallax, 23.3, 305-315
  • Dipiero, Dan, (2018) ‘Improvisation as Contingent Encounter, Or: The Song of My Toothbrush’, Critical Studies in Improvisation 12.2
  • Döbereiner, Luc, (2014) ‘How to Think Sound in Itself? Towards a Materialist Dialectic of Sound’ Proceedings of the Electroacoustic Music Studies Network Conference Electroacoustic Music Beyond Performance (Berlin, June 2014)
  • Faranti, Lucia and Claudia Firth, (2015) Force of Listening (Berlin: Errant Bodies Press)
  • Fischlin, Daniel, (2009) ‘Improvisation and the Unnameable: On Being Instrumental’, Critical Studies in Improvisation 5.1
  • Haraway, Donna, (2017) Staying with the Trouble (Durham, NC: Duke University Press)
  • Haraway, Donna, (1991) Simians, Cyborgs, and Women (New York, NY; Abingdon, Oxfordshire: Taylor Francis)
  • Henriques, Julian, ‘The Vibrations of Affect and their Propagation on a Night Out on Kingston’s Dancehall Scene’, Body and Society, 16.1 (2010), 57-89
  • Hui, Yuk, (2019) Recursivity and Contingency, London: Rowman & Littlefield
  • Ingold, Tim, (2007) ‘Materials Against Materiality’, Archaeological Dialogues, 14.1, 1-16
  • Ingold, Tim (2007) Lines: A Brief History, London: Routledge
  • Ingold, Tim, (2013) Making: Anthropology, Archaeology, Art and Architecture (London; New York, NY: Routledge)
  • Ingold, Tim, & Gatt, Caroline (2013). ‘From description to correspondence: Anthropology in real time’, in Design Anthropology: Theory and Practice, Edited by Wendy Gunn, Ton Otto and Rachel Charlotte Smith, (London: Bloomsbury)
  • Kane, Brian, (2015) ‘Sound Studies Without Auditory Culture: a Critique of the Ontological Turn’ Sound Studies 1
  • Kelly, Caleb, ed. ‘Materials of Sound’, Journal of Sonic Studies 16 (2018)
  • Knappett, Carl and Lambros Malafouris, eds., Material Agency Towards a Non-Anthropocentric Approach (New York, NY: Springer, 2008)
  • Latour, Bruno, (2017) ‘Inside – a performance lecture’ Bruno-Latour.fr, <http://www.bruno-latour.fr/node/755>
  • Latour, Bruno, (2005) Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford: Oxford University Press)
  • LaBelle, Brandon, (2018) Sonic Agency: Sound and Emergent Forms of Resistance (London: Goldsmiths Press)
  • Lavender, James, (2015) ‘Objects, ‘Orientations and Interferences: On Deleuze and Sound Studies’, Parallax, 21.4, 408-428
  • Lely, Jonathan, and James Saunders, Word Events (London: Continuum, 2012)
  • Manning, Erin, & Massumi, Brian, (2014) Thought in the Act, London: University of Minnesota Press
  • Oliveros, Pauline, (1984) Software for People (Sharon, VT: Smith Publications)
  • Oliveros, Pauline, (2005) Deep Listening: a Composer’s Sound Practice (Lincoln, NE: iUniverse Publications)
  • Oliveros, Pauline, (2010) Sounding the Margins (Kingston, NY: Deep Listening Publications)
    Peter Wright, Mark, (2017) ‘Post-Natural Sound Arts’, Journal of Sonic Studies 14
  • Pickering, Andrew (1995) The Mangle of Practice: Time, Agency, and Science, London: University of Chicago Press
  • Saskia, Isabella, Maria Korsten, ‘Partaker Agency: Entanglement of agencies in artworks by Bekirovic and Abramović’ ArtEZ University of the Arts, Amsterdam, The Netherlands
  • Snekkestad, Torben, ‘The Poetics Of A Multiphonic Landscape
  • Small, Christopher, (1998) Musicking (Middletown, CT, Wesleyan University Press)
  • Sergeant, Matthew, (2018) ‘Towards a Nonhuman Affordance through Performative Contemporary Music’ (unpublished conference paper: Material Cultures of Music Notation Conference 2018, University of Utrecht, Utrecht, Netherlands, 20-22 April 2018)
  • Suchman, Lucy, (1994) Human-Machine Reconfigurations: Plans and Situated Actions (Cambridge; New York, NY; Melbourne: Cambridge University Press, 1987; repr. 1994)
  • Thompson, Marie, (2017) ‘Whiteness and the Ontological Turn in Sound Studies’, Parallax, 23.3, 266-282
  • Tsing, Anna, (2015) The Mushroom at the End of the World: On the Possibility of Life in Post Capitalist Ruins (Oxford: Princeton University Press)