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dc.contributor.authorNorris, Michael
dc.contributor.authorYoung, John
dc.date.accessioned2011-03-24T14:44:14Z
dc.date.available2011-03-24T14:44:14Z
dc.date.issued2001-04
dc.identifier.citationNorris, M. and Young, J. (2001) Half-Heard Sounds in the Summer Air: Electroacoustic Music in Wellington and the South Island of New Zealand. Organised Sound, 6 (1) pp. 21-28.en
dc.identifier.urihttp://hdl.handle.net/2086/4774
dc.description.abstractThis article traces the evolution of electroacoustic music in Wellington and the South Island of New Zealand. Electroacoustic music has a well-established tradition in New Zealand, dating back to Douglas Lilburn’s pioneering work in the early 1960s. The Victoria University of Wellington Electronic [sic.] Music Studios (VUW/EMS) that Lilburn established in 1966 became a focal point for electronic music activities in the late 1960s and early 1970s. This article examines current approaches to electroacoustic music composition, and discusses the facilities at Victoria University, the University of Canterbury and the University of Otago.en
dc.language.isoenen
dc.publisherCambridge University Pressen
dc.subjectelectroacoustic music in New Zealanden
dc.subjectenvironmental sounds in musicen
dc.subjecthistory of electroacoustic musicen
dc.titleHalf-heard sounds in the summer air: Electroacoustic music in Wellington and the South Island of New Zealand.en
dc.typeArticleen
dc.identifier.doihttp://dx.doi.org/10.1017/S1355771801001042
dc.researchgroupMusic, Technology and Innovation Research Centreen
dc.peerreviewedYesen
dc.researchinstituteMusic, Technology and Innovation - Institute for Sonic Creativity (MTI2)en


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