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
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> > > > > --
> > > > > Dr. Augustine Leudar
> > > > > Artistic Director Magik Door LTD Company Number : NI635217
> > > > > Registered 63 Ballycoan rd, Belfast BT88LL
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> > > 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
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> > > 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'
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> > > > _______________________________________________
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> > > > Sursound@music.vt.edu
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> > > > 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
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> > > _______________________________________________
> > > 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/
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> > > _______________________________________________
> > > Sursound mailing list
> > > Sursound@music.vt.edu
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> > > here, edit account or options, view archives and so on.
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> > > 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
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> > _______________________________________________
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> > 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.
> >
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> _______________________________________________
> 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
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