Hang on - we're having an academic discussion here - you can't just charge off and go and actually do something! ;-)
Dr. Peter Lennox SFHEA Senior Lecturer in Perception College of Arts, Humanities and Education School of Arts e: p.len...@derby.ac.uk t: 01332 593155 https://derby.academia.edu/peterlennox https://www.researchgate.net/profile/Peter_Lennox University of Derby, Kedleston Road, Derby, DE22 1GB, UK -----Original Message----- From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of Augustine Leudar Sent: 18 August 2017 13:59 To: Surround Sound discussion group <sursound@music.vt.edu> Subject: Re: [Sursound] Sound Based Composition(surround) very well said Peter. Right enough of this - I'm off to make some sound based music :) On 18 August 2017 at 13:47, Peter Lennox <p.len...@derby.ac.uk> wrote: > Yes - academia generally is in a strange place. - I used to love it - > I remember being asked by someone I know why I worked for that kind of > money (he claimed more for transport against his tax bill than I > grossed) - I said "because I get paid to think" - he said fair enough, I get > that. > But now, any thinking is strictly on my own time. > The problem is something like this: - the original reason for > something coming into existence is rarely identical to the reason for > continuing to exist. > > So, The word "university" is derived from the Latin universitas > magistrorum et scholarium, which roughly means "community of teachers > and scholars." (Wikipedia) - but in fact, scholarship is now quite > difficult to find the time and energy for, teaching is defined by the > measurement methods (to the exclusion of all else) and community > happens once a year at a conference. > In fact, there are so many competing vested interests ("stakeholders") > that the business (extremely big business) has become 'weaponised' > In the midst of all this, the footsoldiers in the trenches have little > influence on what universities should be doing, what academia is for. > And when did we last hear the word "wisdom"? > > So - the only reasons I can think of to study at PhD level are > personal > ones: the knowledge (and possibly even a glimmer of wisdom) itself - > the joy of discovering something new, the conviction that one didn't > simply mark time through life. > I would NOT advocate PhD level study as some passport to something > else (as with any academic qualification, actually - only matters if > you haven't got it, but doesn't guarantee anything whatsoever). > In other words, it's perhaps handy to think of a PhD as essentially an > amateur (as in 'for the love of..') thing. As such, the whole thing, > from proposal to methodology to types of conclusion, should, first and > foremost, please oneself. If others happen to like it, that's a bonus. > Cheers > ppl > > Dr. Peter Lennox SFHEA > Senior Lecturer in Perception > College of Arts, Humanities and Education School of Arts > > e: p.len...@derby.ac.uk > t: 01332 593155 > > https://derby.academia.edu/peterlennox > https://www.researchgate.net/profile/Peter_Lennox > > University of Derby, > Kedleston Road, > Derby, > DE22 1GB, UK > > > -----Original Message----- > From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of Phi > Shu > Sent: 18 August 2017 13:02 > To: Surround Sound discussion group <sursound@music.vt.edu> > Subject: Re: [Sursound] Sound Based Composition(surround) > > true that International Art English > <https://www.canopycanopycanopy.com/contents/international_art_english > > > (IAE) is problematic, at the same time there is an awful lot of > sound/music/whatever based work that suffers from over dependence on > spectacle and technical contrivance, a lot it is really banal, it has > nothing to say about anything really (beyond: "isn't this a really > interesting sound" - and often it's not). > > speaking as someone who jumped through the practice based PhD loop, I > hated the writing, but a PhD without some form of > intellectual/philosophical/conceptual narrative is simply not a PhD in > my opinion, it shouldn't be awarded. A portfolio featuring a selection > of random, disparate, creative works is not a PhD; equally one should > not need a PhD to convince gatekeepers that one is qualified to > produce interesting and engaging art; or that art bereft of anything > interesting and engaging is somehow acceptable because the person who > produced it has a PhD. Sure, what with the horrible funding climate > and aggressive neoliberal politics we are dealing with, I can see why > so many professional artists are now looking to retreat to academia, > but is that a good reason to do a PhD? and down the line where are all > the teaching hours going to come from? Then there's the practice led > research versus research led practice debate, which is more valid in the > context of doing a PhD? Arguably the latter. > > As for the creation of "immersive" experiences, do we need them? > aren't we already up to our necks in Baudillarian hyerpreality, Donal > Trump is president the USA ffs. A recent provocation > <http://sonicfield.org/2017/ 08/against-immersion/> sums this up. > > Oh, also, Michael Edwards on "Why I am leaving UK academia <https://www. > timeshighereducation.com/blog/uk-academia-has-gone-hell- > handcart-and-i-quit>" > should be required reading for anyone thinking of being an > artist/composer based in academia. Which reminds me, I was at an event > a few years back, where a well know UK academic composer - who was > about to retire - gave a talk in which he advised against doing a PhD > if composition is something one wishes to make a future out of it - > because the working environment has become that horrible. > > If you want job security, become an administrator. > > On Fri, Aug 18, 2017 at 11:07 AM, Peter Lennox <p.len...@derby.ac.uk> > wrote: > > > See also "Creative Inhibition: how and why?" > > > > A problem is that we have gradually moved to an insidious position > > where "knowledge" has to be expressed in language to be taken > > seriously. So even if one is talking about warm fuzzy subjectivity, > > one has to be able to discuss in hard-edged objective terms. I don't > > know if anyone ever did a PhD on: The parameters of "Nice" - that > > would be a challenge to get past the research degrees committee! > > > > And this brings us to the kind of language that is commonly used in > > Art Galleries. Much of it looks like it has actually been written by > > those automatic bullshit generators (see: https://artybollocks.com/ > > , http://sebpearce.com/bullshit/ ; http://www.buzzwords4u.co.uk/ ; > > https://pdos.csail.mit.edu/archive/scigen/ ) > > > > Sorry - we just may have strayed from the surround path... > > > > Dr. Peter Lennox SFHEA > > Senior Lecturer in Perception > > College of Arts, Humanities and Education School of Arts > > > > e: p.len...@derby.ac.uk > > t: 01332 593155 > > > > https://derby.academia.edu/peterlennox > > https://www.researchgate.net/profile/Peter_Lennox > > > > University of Derby, > > Kedleston Road, > > Derby, > > DE22 1GB, UK > > > > > > -----Original Message----- > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of > > Augustine Leudar > > Sent: 17 August 2017 21:53 > > To: Surround Sound discussion group <sursound@music.vt.edu> > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > I think you misunderstand what I am saying but it's ok. Anyway you > > might want to look at Stanford. Some of their top academics > > described academia as a cancer for creativity : > > > > http://news.stanford.edu/news/2009/november2/art-academia- > > debate-110409.html > > > > I believe some PhDs now have almost no written content whatsoever > > their now. I think the whole concept of research having to be based > > on research questions is outdated - it makes sense for some fields > > but not really for art - in fact I think it hampers innovation. If > > art and music seeks to express something that can't be expressed > > verbally > > - how can you base such activity on verbal research questions with > > out turning art into something dead and pretentious and utterly > > limited by verbal thought processes. The solution in the arts seems > > to have been to make those verbal though processes ridiculously > > convoluted as possible . Have fun with that one anyway and good luck. > > > > On 17 August 2017 at 13:40, 霖の <951343...@qq.com> wrote: > > > > > Thank you very much :) And there are couple of things I'd like to say: > > > I agree with both of you and Thank you very much.. The proposal , > > > I don't know how specific should it be.... And one of the problem > > > is exactly what Augustine has mentioned, practice led to research. > > > In that case, the objects... is more like a train of thought > > > rather than just propose some problems for future research. I'm > > > afraid that will limit the creation as well. So.. how to write a > > > decent proposal really > > confuse me. > > > > > > > > > About the term, sound-based composition. It is academic.. at first > > > time, I used electroacoustics. However, as I hope to combine club > > > electronic music style with electroacoustic music, experiment > > > music and so on...The purpose is to have both aesthetic value and art > > > value. > > > Sound is a quite potential sources and it is also the future of > > > music, that's why I'm not rejected to use this term...For > > > composition, as sound and electronic music is quite different from > traditional music. > > > Composers , always are audio engineer as well. And when we study > > > sound composition, we also need to learn psychoacoustics so that > > > we will know what we are doing exactly. Besides, combine club > > > electronic means extract some approaches or ideas from it, and > > > with principles, those sound works will be more humanization and > > > interesting rather than serious all the time. There are many > > > people have tried to find a more humanization way to present those > > > art works, combination is one of a > > choice. > > > > > > > > > About the visual cues, I've read some paper write by audiovisual > artists. > > > To them, audio cues and visual cues are oneness rather than one > > > dominate another. What I referred here is human always percept > > > the world with all senses, even in dark room, they still keep > > > using every senses which is intuitive. If artists use those > > > principles to create sth special, that would be interesting and > > > innovation. But indeed, sound always provided informations that > > > visual cues cannot > present. > > > That's also a interesting point to be research. > > > > > > > > > > > > > > > > > > > > > ------------------ Original ------------------ > > > From: "Peter Lennox";<p.len...@derby.ac.uk>; > > > Date: Thu, Aug 17, 2017 04:42 PM > > > To: "Surround Sound discussion group"<sursound@music.vt.edu>; > > > > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > > > > > > > The motion bounce illusion, where application of an audible > > > transient alters the visual conclusion, from two circles passing > > > through each other, to a perception of them 'bouncing' off each > > > other, is a good example of audio altering visual perception. > > > > > > it would be simplistic to say that one sense 'dominates' the > > > other, since the real point lies in the comparative robustness of > > > cues -the sense with the best signal-to-noise ratio is likely to > > > dominate in particular instances. > > > > > > Dr. Peter Lennox SFHEA > > > > > > Senior Lecturer in Perception > > > > > > College of Arts, Humanities and Education > > > > > > School of Arts > > > > > > > > > > > > e: p.len...@derby.ac.uk<mailto:p.len...@derby.ac.uk> > > > > > > t: 01332 593155 > > > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > > > University of Derby, > > > Kedleston Road, > > > Derby, > > > DE22 1GB, UK > > > > > > ________________________________ > > > From: Sursound <sursound-boun...@music.vt.edu> on behalf of > > > Augustine Leudar <augustineleu...@gmail.com> > > > Sent: 16 August 2017 22:14:46 > > > To: Surround Sound discussion group > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > This is true too Dave - I know of one audio cue in particular (to > > > do with a football bouncing off a wall) that can alter the way you > > > see the way the ball moves - Ill have to dig it out. It really > > > sucks being a sound artist sometimes ! oh so you're an audio guy.... > > > What's a sound artist ? What like a sound engineer ? or a sound > designer ? > > > ooohhhhh a jumped up button pusher with delusions of grandeur........ > > > > > > On 16 August 2017 at 20:06, Dave Malham <dave.mal...@york.ac.uk> > wrote: > > > > > > > I, too, agree with Augustine. A point though that I would make, > > > > on the > > > side > > > > so to speak, is, do not assume that visual cues always override > > > > audio > > > ones. > > > > It is quite common for visual arts people to assume that the > > > > visual overrules everything else but, although not as common, > > > > audio perceptions can override visual ones at times. Anyway, > > > > good luck with > > your phd. > > > > > > > > Dave > > > > > > > > > > > > On 16 August 2017 at 15:29, Peter Lennox <p.len...@derby.ac.uk> > wrote: > > > > > > > > > Wot he said... > > > > > > > > > > Dr. Peter Lennox SFHEA > > > > > Senior Lecturer in Perception > > > > > College of Arts, Humanities and Education School of Arts > > > > > > > > > > e: p.len...@derby.ac.uk > > > > > t: 01332 593155 > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > University of Derby, > > > > > Kedleston Road, > > > > > Derby, > > > > > DE22 1GB, UK > > > > > > > > > > > > > > > -----Original Message----- > > > > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On > > > > > Behalf Of Augustine Leudar > > > > > Sent: 16 August 2017 15:25 > > > > > To: Surround Sound discussion group <sursound@music.vt.edu> > > > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > > > > > As you probably know visual and other cognitive cues often > > > > > override > > > audio > > > > > cues (see wallachs amazing cylinder experiment from 1940). I > > > > > like to > > > play > > > > > with peoples minds in my installations and create illusions > > > > > with sound > > > - > > > > > but these can be massively aided by the careful manipulation > > > > > of > > > cognitive > > > > > and visual cues - for me for example the choice of location > > > > > and how it looks is just as much a compositional decision as > > > > > the choice of sounds, every sensory experience people have > > > > > from the sight of a speaker, to > > > the > > > > > smell of the environment will have an associated meaning for > > > > > listeners > > > > and > > > > > effect how they hear things, and how believable the world you > > > > > are > > > trying > > > > to > > > > > transport them to is.. > > > > > Cognitive cues are massively influential on how we hear and > > > > > experience > > > > the > > > > > world - from branding to deciding one person has something > > > > > more > > > important > > > > > to say because you know their name, etc etc - you can > > > > > completely > > > override > > > > > audio cues - or massively enhance them if you are clever in > > > > > their > > use. > > > > > However I would suggest practice led research for this kind of > > > > > project > > > - > > > > I > > > > > have heard so many things that sound very good on paper but > > > > > dont > > > actually > > > > > work - to really add to the body of human knowledge I would > > > > > say do it > > > the > > > > > other way round here - find out what works then write about it. > > > > > There are loads of really interesting avenues of research in > > > > > this > > > topic - > > > > > from intepoliation in HRTF data sets to various applications in VR. > > > > > Although not sound based there is research for example in VR - > > > > > you put > > > a > > > > > headset on and walk in a room - you think you are walking in a > > > > > straight line but actually you are walking in a curve - the > > > > > research is > > > > determining > > > > > how far visual cues can foll haptic ones, how much of a curve > > > > > can you > > > get > > > > > away with.... There are many audio equivelants to this "curve". > > > > > .....I > > > am > > > > > also involved in sound sculpture but not perhaps in the way > > > > > you mean - > > > I > > > > > make actual sculptures with sonics bult into them - I like > > > > > technology > > > to > > > > be > > > > > hidden for the aforementioned cognitive reasons- I also do a > > > > > lot of installations in natural environments that integrate > > > > > psychoacoustic and cognitive research (such as the cocktail > > > > > party effect and precedence > > > > etc) . > > > > > I can send you some papers I wrote on using these cues in > > > > > sound installation and theatre if you PM me. I also would be > > > > > wary of terms > > > like > > > > > "sound based music" it sounds like pure academese - I > > > > > understand the importance of academic writing style you have > > > > > the potential to write an interesting research project and > > > > > create a great portfolio which > > > actually > > > > is > > > > > clever and doesnt need to obscure its content with unnecessary > > > > > esoteric language . My advice would be to follow your passion > > > > > and not let > > > yourself > > > > > get led into something you're not really that interested in or > > > > > that > > > makes > > > > > your supervisor feel safer - to finish you will need to be > > > > > really > > > > engaged. > > > > > > > > > > On 16 August 2017 at 13:45, Peter Lennox > > > > > <p.len...@derby.ac.uk> > > wrote: > > > > > > > > > > > You probably have a supervisor, so I wouldn't want to interfere. > > > > > > But it seems to me that your main aim is too broad, too vague. > > > > > > You seem to be saying something like "the perception of > > > > > > music partly relies on processes (neural, cognitive and > > > > > > psychological) that exist for other than musical reasons - > > > > > > so how can this principle be applied to enrich music and sound art?" > > > > > > - but of course, composers have always done this. Take the > > > > > > principle of "intuitive physics" (1993: 'Intuitive Physics', > > > > > > in Eilan, McCarthy and Brewer, (eds.), Problems in the > > > > > > Philosophy and Psychology of Spatial Representation; 99-112) > > > > > > - then compare "flight of the bumble bee" with Prokoviev's > > > > > > "Dance of the Knights" (a track on Romeo and > > > > > > Juliet) - you can hear that they rely on extra-musical > > > > > > associations about size (mass) and therefore momentum, and > > > > > > the sorts of movement (acceleration, change of > > > > > > direction) that might be expected for beings of differing masses. > > > > > > (Also have a listen to Tomita's electronic renditions of > > > > > > Debussey) > > > > > > > > > > > > > > > > > > On the notion of sound sculpture, there are many artists > > > > > > interested > > > in > > > > > > this - for example, The Morning Line > > > > > > (https://www.youtube.com/ watch?v=gipLCJr94Sg ) > > > > > > > > > > > > So, you have a very interesting topic area, and one in which > > > > > > much is not known (an exciting area for research, then). But > > > > > > this stage, of formulating a coherent proposal, is very hard > > > > > > work. Simplicity is the key - trying to be really clear (to > > > > > > yourself) what it is you want to know. That's a problem that > > > > > > all academics wrestle with, all their > > > > lives. > > > > > > Good luck! > > > > > > > > > > > > Dr. Peter Lennox SFHEA > > > > > > Senior Lecturer in Perception College of Arts, Humanities > > > > > > and Education School of Arts > > > > > > > > > > > > e: p.len...@derby.ac.uk > > > > > > t: 01332 593155 > > > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > > > University of Derby, > > > > > > Kedleston Road, > > > > > > Derby, > > > > > > DE22 1GB, UK > > > > > > > > > > > > > > > > > > -----Original Message----- > > > > > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On > > > > > > Behalf Of > > > ?? > > > > > > Sent: 16 August 2017 12:33 > > > > > > To: sursound <sursound@music.vt.edu> > > > > > > Subject: [Sursound] Sound Based Composition(surround) > > > > > > > > > > > > Thanks for reply. It is really helpful. > > > > > > The term I used , according to Landy's writing : typically > > > > > > designated the art form in which the sound is the basic unit. > > > > > > I'm thinking about it and developed main question and sub > > > > > > questions,here is a brief description : > > > > > > > > > > > > > > > > > > 1 The study purpose and sub-questions > > > > > > 1.1 Main Purpose > > > > > > For the perception mechanism of human being, every part of > > > > > > the outer world is affecting the final cognition. Thus, as > > > > > > sound-based music, the sources may naturally have > > > > > > extra-musical information. How to use that information > > > > > > appropriately to create artwork so that it could arouse > > > > > > people's association and extra-musical experiences? And, How > > > to > > > > > > combine it with other art forms and effectively creates > > > > > > interesting > > > > > perception experiences? > > > > > > > > > > > > 1.2 Perception > > > > > > For receiving and processing, sensory system will be used > > > > > > and worked together all the time. For artwork creation, > > > > > > including sound-based music composition, would it possible > > > > > > to break the typical perception habit or used it to create > > > > > > artwork according to perception > > > principles? > > > > > > 1.3Cognition > > > > > > In this part, the research question focus on cognition > > > > > > process (understanding through thought, experience, and > > > > > > existing knowledge, > > > > > etc.). > > > > > > In the light of above theory, if sound-based music or > > > > > > audiovisual artwork could follow the path of cognition > > > > > > process, will it creates fantastic artwork that brings > > > > > > abundant information even dramatic experiences? For example, > > > > > > using symbolic melody, lyrics or sound with special meaning, > > > > > > and composed them appropriately, it would be act > > > like > > > > > > "access tools" (Leigh Landy, 2007: 27) and enhance the > > > > > > experiences to audiences and assist them understand the work > > > > > > more easily. Thus, people will focus on experience the > > > > > > feelings or interact with > > > artworks > > > > > > rather than struggle with questions like what is going on here. > > > > > > 1.4 Development > > > > > > To develop the research ideas basis on psychoacoustics and > > > > > > cognitive psychology mentioned above, when combining the > > > > > > sound-based artwork with other forms of art, will > > > > > > innovations > > happen by this combination? > > > > > > 1.5 Sound sculpture > > > > > > As mention above, sound sculpture basis on sound-based music. > > > > > > Essentially, music is trying to transmit experiences to > > > > > > audiences, so how about creating sound sculpture? It is like > > > > > > the natural world presented to us: when we come into a > > > > > > place, we will hear and see the surroundings and then > > > > > > understand what has happened here, so as "sound > > > > > sculpture" mentioned here. > > > > > > As I'm new to write proposal, what is the essential elements > > > > > > to form > > > a > > > > > > research object and how specific should it be? I'm going to > > > manipulate > > > > > > the principles and compose serious of artworks . Then > > > > > > extract the result to form a final dissertation. > > > > > > > > > > > > > > > > > > Thank you very much, > > > > > > Yilin > > > > > > -------------- next part -------------- An HTML attachment > > > > > > was scrubbed... > > > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > > > attachments/20170816/192f16ff/attachment.html> > > > > > > _______________________________________________ > > > > > > Sursound mailing list > > > > > > Sursound@music.vt.edu > > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > > unsubscribe here, edit account or options, view archives and > > > > > > so > on. > > > > > > > > > > > > > > > > > > The University of Derby has a published policy regarding > > > > > > email and reserves the right to monitor email traffic. > > > > > > If you believe this was sent to you in error, please reply > > > > > > to the sender and let them know. > > > > > > > > > > > > Key University contacts: > > > > > > http://www.derby.ac.uk/its/contacts/ > > > > > > _______________________________________________ > > > > > > Sursound mailing list > > > > > > Sursound@music.vt.edu > > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > > unsubscribe here, edit account or options, view archives and > > > > > > so > on. > > > > > > > > > > > > > > > > > > > > > > > > > > -- > > > > > Dr. Augustine Leudar > > > > > Artistic Director Magik Door LTD Company Number : NI635217 > > > > > Registered 63 Ballycoan rd, Belfast BT88LL > > > > > -------------- next part -------------- An HTML attachment was > > > > > scrubbed... > > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > > attachments/20170816/c71e43d4/attachment.html> > > > > > _______________________________________________ > > > > > Sursound mailing list > > > > > Sursound@music.vt.edu > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > unsubscribe > > > here, > > > > > edit account or options, view archives and so on. > > > > > > > > > > > > > > > The University of Derby has a published policy regarding email > > > > > and reserves the right to monitor email traffic. > > > > > If you believe this was sent to you in error, please reply to > > > > > the > > > sender > > > > > and let them know. > > > > > > > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > > > > _______________________________________________ > > > > > Sursound mailing list > > > > > Sursound@music.vt.edu > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > unsubscribe > > > here, > > > > > edit account or options, view archives and so on. > > > > > > > > > > > > > > > > > > > > > -- > > > > > > > > As of 1st October 2012, I have retired from the University. > > > > > > > > These are my own views and may or may not be shared by the > > > > University > > > > > > > > Dave Malham > > > > Honorary Fellow, Department of Music The University of York York > > > > YO10 5DD UK > > > > > > > > 'Ambisonics - Component Imaging for Audio' > > > > -------------- next part -------------- An HTML attachment was > > > > scrubbed... > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > attachments/20170816/5f326f14/attachment.html> > > > > _______________________________________________ > > > > Sursound mailing list > > > > Sursound@music.vt.edu > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > unsubscribe here, edit account or options, view archives and so on. > > > > > > > > > > > > > > > > -- > > > Dr. Augustine Leudar > > > Artistic Director Magik Door LTD > > > Company Number : NI635217 > > > Registered 63 Ballycoan rd, > > > Belfast BT88LL > > > -------------- next part -------------- An HTML attachment was > > > scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170816/46e24dc3/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > > here, edit account or options, view archives and so on. > > > > > > > > > The University of Derby has a published policy regarding email and > > > reserves the right to monitor email traffic. > > > If you believe this was sent to you in error, please reply to the > > > sender and let them know. > > > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > > -------------- next part -------------- An HTML attachment was > > > scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170817/360dabcc/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > > here, edit account or options, view archives and so on. > > > -------------- next part -------------- An HTML attachment was > > > scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170817/0010a730/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > > here, edit account or options, view archives and so on. > > > > > > > > > > > -- > > Dr. Augustine Leudar > > Artistic Director Magik Door LTD > > Company Number : NI635217 > > Registered 63 Ballycoan rd, > > Belfast BT88LL > > -------------- next part -------------- An HTML attachment was > > scrubbed... > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > attachments/20170817/6f067be0/attachment.html> > > _______________________________________________ > > Sursound mailing list > > Sursound@music.vt.edu > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > here, edit account or options, view archives and so on. > > > > > > The University of Derby has a published policy regarding email and > > reserves the right to monitor email traffic. > > If you believe this was sent to you in error, please reply to the > > sender and let them know. > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > _______________________________________________ > > Sursound mailing list > > Sursound@music.vt.edu > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > here, edit account or options, view archives and so on. > > > -------------- next part -------------- An HTML attachment was > scrubbed... > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > attachments/20170818/46a4c55e/attachment.html> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > here, edit account or options, view archives and so on. > > > The University of Derby has a published policy regarding email and > reserves the right to monitor email traffic. > If you believe this was sent to you in error, please reply to the > sender and let them know. > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > here, edit account or options, view archives and so on. > -- Dr. Augustine Leudar Artistic Director Magik Door LTD Company Number : NI635217 Registered 63 Ballycoan rd, Belfast BT88LL -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20170818/01e1ac0e/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on. The University of Derby has a published policy regarding email and reserves the right to monitor email traffic. If you believe this was sent to you in error, please reply to the sender and let them know. Key University contacts: http://www.derby.ac.uk/its/contacts/ _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
