Dr John Dack
| Name | Dr John Dack |
|---|---|
| Job title | Senior Lecturer Music and Technology |
| Research institute | |
| Primary appointment | Computer Science |
| ORCID | https://orcid.org/0000-0003-0521-4852 |
| Contact category | Academic staff (past) |
Research outputs
Sound art and music: philosophy, composition, performance
Dack, J., Spinks, T. and Stanović, A. (ed.) 2020. Sound art and music: philosophy, composition, performance. UK Cambridge Scholars Publishing.Pierre Schaeffer and the (recorded) sound source
Dack, J. 2019. Pierre Schaeffer and the (recorded) sound source. in: Steintrager, J. and Chow, R. (ed.) Sound Objects London, UK Duke University Press. pp. 33-52Radiophonie/Poesie/Musik
Dack, J. 2018. Radiophonie/Poesie/Musik. in: Holl, U., Singer, N. and et al. (ed.) Radiophonics: Volume 1 Radiophonic Cultures [Exhibition Catalogue] Berlin, Germany Kehrer Verlag.Hugh Davies' Shozyg I
Palermo, F. 2018. Hugh Davies' Shozyg I. in: Doğantan-Dack, M. and Dack, J. (ed.) Music and Sonic Art: Theories and Practices Cambridge Scholars Publishing. pp. 59-77Treatise on musical objects: an essay across disciplines by Pierre Schaeffer; translated by Christine North and John Dack
Schaeffer, P., North, C. and Dack, J. 2017. Treatise on musical objects: an essay across disciplines by Pierre Schaeffer; translated by Christine North and John Dack. Oakland, USA University of California Press.The mediating role of the piano in Karlheinz Stockhausen’s Kontakte für elektronische Klänge, Klavier und Schlagzeug
Dack, J. 2017. The mediating role of the piano in Karlheinz Stockhausen’s Kontakte für elektronische Klänge, Klavier und Schlagzeug. in: Bonardi, A., Bossis, B., Couprie, P. and Tiffon, V. (ed.) Analyser la musique mixte France Éditions Delatour.À l’écoute des langages plastique et musical dans les « Variations pour une porte et un soupir » de Pierre Henry
Dack, J. 2016. À l’écoute des langages plastique et musical dans les « Variations pour une porte et un soupir » de Pierre Henry. in: Marty, N. (ed.) Musiques Électroacoustiques - Analyses-Écoutes France Éditions Delatour. pp. 111-124La musique électroacoustique Mixte: Interactions entre le "réel" et le "virtuel"
Dack, J. 2016. La musique électroacoustique Mixte: Interactions entre le "réel" et le "virtuel". in: Musique Et Technologie : Regards Sur Les Musiques Mixtes Paris, France Ina GRM.François Bayle’s valeur obscure
Dack, J. 2015. François Bayle’s valeur obscure. in: Brech, M. and Paland, R. (ed.) Kompositionen für hörbaren Raum: die frühe elektroakustische Musik und ihre Kontexte = Compositions for audible space : the early electroacoustic music and its contexts Bielefeld Transcript Verlag. pp. 277-286Forschung im inneren des klangs
Dack, J. 2014. Forschung im inneren des klangs. Neue Zeitschrift für Musik.Those blue remembered sounds
Dack, J. 2014. Those blue remembered sounds. in: Erbe, M. and Blumröder, C. (ed.) Le monde sonore de / The sound world of / Die Klangwelt des François Bayle Verlag der Apfel. pp. 9-41In search of a concrete music by Pierre Schaeffer; translated by Christine North and John Dack.
Schaeffer, P., Dack, J. and North, C. 2012. In search of a concrete music by Pierre Schaeffer; translated by Christine North and John Dack. Berkeley University of California Press.The Studio Di Fonologia: a musical journey 1954-1983, update 2008-2012
Novati, M. and Dack, J. (ed.) 2012. The Studio Di Fonologia: a musical journey 1954-1983, update 2008-2012. Milan, Italy Ricordi.The nature of the instrument: Luciano Berio, instrumental thought and Schaefferian theory
Dack, J. 2012. The nature of the instrument: Luciano Berio, instrumental thought and Schaefferian theory. in: De Benedictis, A. (ed.) Luciano Berio: nuove prospettive / new perspectives Florence, Italy Leo S. Olschki.ParaSites: new propositions
Nuhn, R. and Colle, C. 2011. ParaSites: new propositions. in: Lasker, G., Dack, J. and Dogantan-Dack, M. (ed.) Music and Sonic Art: practices and theories. Ontario The International Institute for Advanced Studies in Systems Research and Cybernetics.The relationship between electro-acoustic music and instrumental/vocal composition in Europe in the period 1948-1970.
Dack, J. 1989. The relationship between electro-acoustic music and instrumental/vocal composition in Europe in the period 1948-1970. PhD thesis Middlesex Polytechnic Faculty of Education and Performimg Arts.From sound to music: from recording to theory.
Dack, J. 2010. From sound to music: from recording to theory. in: Bayley, A. (ed.) Recorded music: performance, culture and technology Cambridge Cambridge University Press (CUP). pp. 271-290La musique électro-acoustique 'mixte'.
Dack, J. 2010. La musique électro-acoustique 'mixte'. in: Une étude des interactions entre le ‘réel’ et le ‘virtuel’ Paris MINT-OMF Université Paris-Sorbonne.The electroacoustic music of Henri Pousseur and the open form
Dack, J. 2009. The electroacoustic music of Henri Pousseur and the open form. in: Heile, B. (ed.) The modernist legacy: essays on new music Aldershot Ashgate. pp. 177-188Instrument, what do you want of us?
Dack, J. 2009. Instrument, what do you want of us? in: Gayou, E. (ed.) Pierre Schaeffer Paris, France Institut National de l'Audiovisuel.Instrument, que nous veux-tu?
Dack, J. 2008. Instrument, que nous veux-tu? in: Pierre Schaeffer France Ina GRM.Spectral music and Schaefferian methodology.
Dack, J. 2008. Spectral music and Schaefferian methodology. in: Reigle, R. and Whitehead, P. (ed.) Spectral World Musics: proceedings of the Istanbul Spectral Music Conference. Istanbul Pan Yayincilik. pp. 75-92Music in space, space in music.
Dack, J. 2008. Music in space, space in music. Society for the Promotion of New Music: New Notes.A sense of place: a sense of space
Dack, J. and Gibbs, T. 2008. A sense of place: a sense of space. in: Dogantan-Dack, M. (ed.) Recorded Music: Philosophical and Critical Reflections London Middlesex University Press.i'Nstall.
Nuhn, R. 2008. i'Nstall. in: Lasker, G., Luz, A., Dack, J. and Dogantan-Dack, M. (ed.) Systems research in the arts and humanities: on interaction/ interactivity in music, design, visual and performative arts. Ontario The International Institute for Advanced Studies in Systems Research and Cybernetics.Acoulogie: an answer to Lévi-Strauss?
Dack, J. 2007. Acoulogie: an answer to Lévi-Strauss? in: EMS07 Online Proceedings EMS07 Online Proceedings.Translating Pierre Schaeffer: symbolism, literature and music.
Dack, J. 2006. Translating Pierre Schaeffer: symbolism, literature and music. Musicacoustica 2006.Henri Pousseur's 'Huit Etudes Paraboliques': the 'open' form as 'Remix'?
Dack, J. 2006. Henri Pousseur's 'Huit Etudes Paraboliques': the 'open' form as 'Remix'? in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 19-24Sonic Art: Interactions between practice and theory.
Dack, J. 2005. Sonic Art: Interactions between practice and theory. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 33-40Soundscape: the school of sound lectures.
Dack, J. 2005. Soundscape: the school of sound lectures. Sound Journal.Virtuosity and the virtual.
Dack, J. 2004. Virtuosity and the virtual. John Dack.The open form in the arts.
Dack, J. 2004. The open form in the arts. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 7-13The artist-couple (Sabine Schäfer and Joachim Krebs).
Dack, J. 2004. The artist-couple (Sabine Schäfer and Joachim Krebs). in: AquaAngelusVox MDG.Electroacoustic music: analytical perspectives
Dack, J. 2004. Electroacoustic music: analytical perspectives. Organised Sound. 9 (1), pp. 115-117.Foreword, afterword and translation of "Sound - Time - Space - Movement: The Space-Sound Installations of the artist couple Sabine Schäfer/Joachim Krebsâ
Nuhn, R. and Dack, J. 2004. Foreword, afterword and translation of "Sound - Time - Space - Movement: The Space-Sound Installations of the artist couple Sabine Schäfer/Joachim Krebsâ. Organised Sound. 8 (2), pp. 213-225."Open" forms and the computer.
Dack, J. 2004. "Open" forms and the computer. in: Barbanti, R. (ed.) Musiques, arts, technologie. Pour une Approche Critique. Collection: 'Musique-philosophie' Paris Harmattan. pp. 401-412The 'series' in Music and Art.
Dack, J. 2003. The 'series' in Music and Art. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 21-28Sound, installations and music.
Dack, J. 2003. Sound, installations and music. in: MAXIS II Conference Proceedings MAXIS II Conference Proceedings. pp. 35-39Introduction and Afterword to Sound - Time - Space - Movement by Sabine Schäfer/Joachim Krebs
Dack, J. and Nuhn, R. 2003. Introduction and Afterword to Sound - Time - Space - Movement by Sabine Schäfer/Joachim Krebs. Organised Sound. 8 (2), pp. 213-225.Ear-training using the computer and PROGREMU Recueil des actes.
Dack, J. 2003. Ear-training using the computer and PROGREMU Recueil des actes. in: 10e Journées d’Informatique Musicale 10e Journées d’Informatique Musicale. pp. 1-10Writing aloud: the sonics of language
Dack, J. 2003. Writing aloud: the sonics of language. Computer Music Journal. 27 (1), pp. 86-88.Review: the 'Nowalls' Conference at De Montfort University
Dack, J. 2002. Review: the 'Nowalls' Conference at De Montfort University. Computer Music Journal.Histories and ideologies of synthesis.
Dack, J. 2002. Histories and ideologies of synthesis. in: Maxis Conference Proceedings Maxis Conference Proceedings. pp. 35-40CD review: The British 'school' of acousmatic music
Dack, J. 2002. CD review: The British 'school' of acousmatic music. Computer Music Journal. 26 (3), pp. 91-94.Abstract and concrete.
Dack, J. 2002. Abstract and concrete. Journal of Electroacoustic Music. 14, pp. 2-7.Webern's Op.21 and the unity of musical space.
Dack, J. 2002. Webern's Op.21 and the unity of musical space. in: Systems Research in the Arts. IIASSRC Conference.Technology and the instrument
Dack, J. 2002. Technology and the instrument. in: Grün, L. and Wiegand, F. (ed.) Musik netz werke - Konturen der neuen Musikkultur Germany Taschenbuch. pp. 39-54Instrument und Pseudoinstrument - Akusmatische Konzepte
Dack, J. 2002. Instrument und Pseudoinstrument - Akusmatische Konzepte. in: Ungeheuer, E. and Bottenberg, E. (ed.) Elektroakustische Musik Laaber-Verlag.Report on the Sonic Arts Network Conference, Newcastle
Dack, J. 2001. Report on the Sonic Arts Network Conference, Newcastle. Diffusion.Diffusion as performance.
Dack, J. 2001. Diffusion as performance. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 81-88At the limits of Schaeffer's TARTYP.
Dack, J. 2001. At the limits of Schaeffer's TARTYP.The evocation of space as a compositional determinant.
Dack, J. 2000. The evocation of space as a compositional determinant. in: IIASSRC Conference Proceedings IIASSRC Conference Proceedings. pp. 61-66The 'open' score as source for interaction.
Dack, J. 2000. The 'open' score as source for interaction. in: IIASSRC Conference Proceedings: On Interaction/Interactivity in Music, Design, Visual and Performing Arts IIASSRC Conference Proceedings.Ludwig van Henry: an interview with Pierre Henry.
Dack, J. 2000. Ludwig van Henry: an interview with Pierre Henry. Journal of Electroacoustic Music. 13, pp. 27-30.Introduction to the work of Sabine Schäfer
Dack, J. 2000. Introduction to the work of Sabine Schäfer. Diffusion.Francis Dhomont in London.
Dack, J. 2000. Francis Dhomont in London. Electroacoustic Music and History Diffusion. May, pp. 2-3.Die Herausforderung traditioneller Konzepte.
Dack, J. 2000. Die Herausforderung traditioneller Konzepte. MusikTexte. 84.Karlheinz Stockhausen's kontakte and narrativity.
Dack, J. 1999. Karlheinz Stockhausen's kontakte and narrativity. Kontakte and Narrativity.3261
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