Books and Magazines

* This book is a monster. It's huge. Hence price and postage. So you know...  free improvisation: what goes on? how does it work?                                                                      how can you write about it? Musicswas published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation. Steve Beresford, David Toop,  Annabel Nicholson, Evan Parker, David Cunningham, Lindsay Cooper, Eddie Prevost, John Russell, Derek Bailey, Hugh Davies, Peter Riley and many, many others contributed to the writing, graphics and photography. Musicswas a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition & audio culture. It came out six times a year and ran for twenty-three hand-assembled issues. The journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point.  Overlapping with thelondon musicians’ collective (lmc), the publication first launched in Spring of 1975, with the tagline:an impromental experivisation arts magazineand a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the academic ministrations of John Cage, Cornelius Cardew and K. Stockhausen and indigenous and non-European music.Musicswas significant in the discussion of traditional Asian instruments as paths of equal value for the performance of musics. Produced by what was effectively an anarchist collective with few publishing skills and no support, the magazine’s roughness, marginality and scarcity has kept it from those who are active, even prominent in the field.  Musicsis an entree to the arcane world of the 1970s London improviser’s scene and presents scores, dialogues, debates, positioning, arguments, accolades, critiques, absurdist/dada notions, and a bit of pranksterism - all with collective enthusiasm. Founding Editor David Toop: “with rose-tinted affection I recall mass paste-up sessions with spray mount… a page of reviews of electronic music by women, written by Lily Greenham in 1978… in the same issue are five beautifully written and illustrated pages about listening in Greece. An Aural Sketchbook by Dave Veres was just one example of pieces about listening practice and field recording; others include Found Sounds by Michael Leggett, Sounds in Kyōdo by Kazuko Hohki, New York Sounds by Fred Frith and Sounds Heard at La Sainte-Baume by Hugh Davies. There are also invaluable accounts of groups such as The People Band, Feminist Improvising Group, CCMC, Los Angeles Free Music Society, MEV and the Dutch musicians associated with Instant Composers Pool. Interspersed among all this loamy archival material are a few essays of grinding tedium, snarky barbs of wit, barely decipherable photographs…” Musics Introduction: Steve Beresford / Foreword: David Toop isbn: 978-0-9972850-5-5 / Publisher:ecstatic peace library Pub date: 1 September 2016 Flexi-bound cover, Swiss-bound, 800 pages


In this first installment of acclaimed music writer David Toop's interdisciplinary and sweeping overview of free improvisation, Into the Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970 introduces the philosophy and practice of improvisation (both musical and otherwise) within the historical context of the post-World War II era. Neither strictly chronological, or exclusively a history, Into the Maelstrom investigates a wide range of improvisational tendencies: from surrealist automatism to stream-of-consciousness in literature and vocalization; from the free music of Percy Grainger to the free improvising groups emerging out of the early 1960s (Group Ongaku, Nuova Consonanza, MEV, AMM, the Spontaneous Music Ensemble); and from free jazz to the strands of free improvisation that sought to distance itself from jazz. In exploring the diverse ways in which spontaneity became a core value in the early twentieth century as well as free improvisation's connection to both 1960s rock (The Beatles, Cream, Pink Floyd) and the era of post-Cagean indeterminacy in composition, Toop provides a definitive and all-encompassing exploration of free improvisation up to 1970, ending with the late 1960s international developments of free music from Roscoe Mitchell in Chicago, Peter Brötzmann in Berlin and Han Bennink and Misha Mengelberg in Amsterdam.

David Toop Into the Maelstrom: Music, Improvisation and the Dream of Freedom before 1970

Special Edition of 500 copies with flexidisc insert containing original Bone music (see photo below). Many older people in Russia remember seeing and hearing mysterious vinyl flexi-discs when they were young. They had partial images of skeletons on them, could be played like gramophone records and were called ‘bones’ or ‘ribs’.  They contained forbidden music. In the cold war era, the Soviet recording industry and permissible musical repertoire were ruthlessly controlled by the State. But a secret and risky subculture of bootleg recordings arose. Incredibly, bootleggers built homemade recording machines and found an extraordinary way to copy banned gramophone records – they used X-Rays clandestinely obtained from hospitals. X-Ray Audio: The Strange Story of Soviet Music on the Bone tells the secret history of these ghostly records and of the people who made, bought and sold them.  Lavishly illustrated with images of discs collected in Russia, it is a unique story of forbidden culture, bootleg technology and human endeavour. Contributions from Russian musical commentators and interviews, including one with the last bootlegger standing, set the scene for the intersection of ideological, technological and historical events that created this brief Samizdat musical culture. In a time when songs can be copied in an instant and when streaming services provide virtually infinite choice and access, X-Ray Audio provides a poignant reminder of the immense cultural value of music and the extraordinary lengths people to which people will go to listen to what they love. CONTRIBUTORS:Stephen Coates is a music producer, and director of the arts company Antique Beat.Paul Heartfield is a music and portrait photographer.Aleksander Kolkowski is a composer, violinist, sound artist and researcher.Maksim Kravchinsky is a Russian broadcaster and writerSukhdev Sandhu is a writer and lecturer on contemporary culture.Artyemi Troistsky is a Russian music journalist, broadcaster and academic.

X-Ray Audio - The Strange Story of Soviet Music on the Bone Book

Expanded and revised hardback 2nd edition of this legendary Ra artefact. All will be shipped immediately on receipt of stock late-November.   Twenty years after its first publication, ART YARD are proud to present the fully revised 2nd edition of Hartmut Geerken’s long unobtainable Omniverse – Sun Ra, a definitive hitch-hiker’s guide to the Sun Ra galaxy. The new, completely revised edition features: -       unpublished photographs of Sun Ra and the Arkestra by Hartmut Geerken and Val Wilmer-       a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra-       articles by Geerken, Amiri Baraka, Chris Cutler, Robert L. Campbell, Salah Ragab, Gabi Geist and others-       new full colour images of hundreds of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and coloured LP sleevesFor five decades, Sun Ra brightened planet Earth with his unique, provocative and esoteric musical philosophy. Touring the world with his formidable Arkestra, he represented and affirmed a new vision of Black history and culture, embodied and spread a new and powerfully influential Black philosophy, and revolutionised music with sounds from beyond the purple star zone.  Ra accepted no limitation imposed on him by earthly powers: his vista was the universe, his travel was interplanetary, his music borne along the spaceways as he delivered messages of light to a sleeping world. Now more than ever, the value and radicalism of his protean musical inventiveness, his socially collective self-determination, and his philosophical and poetic profundity can be seen. Where Ra went, we are slowly going, and we will find his message for us waiting there. The new edition of Omniverse – Sun Ra is a major contribution to Sun Ra studies, and a dazzling overview of its subjects astonishingly productive career on Earth - the definitive companion to the many worlds of Sun Ra.  

Omniverse – Sun Ra by Hartmut Geerken and Chris Trent Book

Foreword by Sonny Rollins. Henry Grimes recorded and toured with some of the most imaginative American jazz musicians including Sonny Rollins, Cecil Taylor, and Albert Ayler. This book examines the bassist’s long but turbulent musical career, recounting his continuously creative artistic life as bassist, violinist and poet. Henry’s a giant. – Cecil Taylor, 2000. On the records he was on, he stood out. He had a big sound, and it really punched out whatever ensemble he was in. – William Parker, 2003. I am so happy to hear that Henry is playing again. He is one of the great individualists, and his absence left a space that nobody else could fill. – Dave Holland, 2003. Henry has always been a serious, intense, and fearless musician whose personal life reflected those exceptional qualities. I admire him greatly. – Sonny Rollins, 2007. Henry Grimes is among the greatest improvisers living in the world today. His playing is exquisite. – Roscoe Mitchell, Mills College, 2010. Barbara Ina Frenz, born in 1961 in Zurich, Switzerland, is a German historian, author and copywriter living in Frankfurt am Main. Frenz grew up in a jazz-loving family, studied history, philosophy, and art history in Frankfurt, and gained her PhD with a study on equality in the Middle Ages. Frenz was a research associate at the Universities of Frankfurt and Würzburg from1989 to ’99 undertaking historical studies sponsored by various foundations. Since 2001, after further education in creative writing, she has worked in the creative areas of advertising and as a writer of poetry, texts in history and culture, and contributions to the German jazz magazine Jazzpodium.

Music to Silence to Music: A Biography of Henry Grimes

Compost and Height is pleased to announce the publication of Patrick Farmer’s new book, Yew Grotesque. Farmer has been working on this book for the last year as part of a joint commission from Sound and Music and Forestry Commission England. It was developed during a series of week-long residential trips to Grizedale Forest, Cumbria, where Farmer resided in a log cabin and spent time walking the forested area between Coniston Water and Lake Windermere. This direct relationship between the forest and the book is veiled, though the underlying presence is integral to its makeup. Yew Grotesque completes a series of works, comprising Farmer’s previous books try i bark and wild horses think of nothing else the sea. Together the three books offer both a direct and indirect textual engagement with listening. The relationship between these publications is typified by the words of Jack Spicer, a poet who felt that his own works “echo and re-echo against each other”, “create resonances” and can’t “live alone anymore than we can”. The undertow of Farmer’s preceding books, found in the knots and temporary dichotomies of the external and internal, now find their opposite in the publication of Yew Grotesque. The new book’s underlying personality and its observation of the many divergent angles and qualities of listening was prevalent from its conception, but its role in sealing and joining the three books together was only made apparent towards its end. It is a perverse book of praise that attempts to lay itself out flat by concerning itself with the tools that can make the object, rather than the object itself. Yew Grotesque opens on the morning of a symposium, observing the protagonist as he moves through a series of exercises in a hotel room, whilst intently listening to his inner speech rehearse a speculative conversation between two dead artists.

Patrick Farmer – Yew Grotesque (Book)

What is experimental music today? This book offers an up to date survey of this field for anyone with an interest, from seasoned practitioners to curious readers. This book takes the stance that experimental music is not a limited historical event, but is a proliferation of approaches to sound that reveals much about present-day experience. An experimental work is not identifiable by its sound alone, but by the nature of the questions it poses and its openness to the sounding event. Experimentation is a way of working. It pushes past that which is known to discover what lies beyond it, finding new knowledge, forms, and relationships, or accepting a state of uncertainty. For each of these composers and sound artists, craft is developed and transformed in response to the questions they bring to their work. Scientific, perceptual, or social phenomena become catalysts in the operation of the work. These practices are not presented according to a chronology, a set of techniques, or social groupings. Instead, they are organized according to the content areas that are their subjects, including resonance, harmony, objects, shapes, perception, language, interaction, sites, and histories. Musical materials may be subject, among other treatments, to systemization, observation, examination, magnification, fragmentation, translation, or destabilization. These restless and exploratory modes of engagement have continued to develop over recent decades, expanding the scope of both musical practice and listening Review We have needed a reformulation of what experimental music now means, i.e., what has become since Michael Nyman took stock of it in 1974and this book beautifully fulfills that requirement. Jennie Gottschalk takes a fresh and independent look at experimental music of the last forty years, finding both points of continuation from the previous era and many novel and heartening developments. It is also an adventure story with surprising twists and a panoramic cast of characters, like a novel in which works and ideas are the central figures, seemingly with a collective life of their own. --Michael Pisaro, Composer and Faculty Member, Composition and Experimental Sound Practices, California Institute of the Arts, USAReading Experimental Music Since 1970 it is impossible not to be dazzled first by the range and imagination of experimental music and sound art that is being made today, and second by the way in which Jennie Gottschalk has described and catalogued so much of it, so lucidly. Impeccably and authoritatively researched, by a writer who is both a practitioner and an astute observer, it deserves to be the go-to reference for years to come. --Tim Rutherford-Johnson, author of 'Music After The Fall: Modern Composition and Culture Since 1989', UKThis book is a unique achievement. Without catering to current fashions or well-worn academic assumptions, it transcends the limits of both journalism and traditional musicology to be both comprehensive and insightful. Reading it has helped me to ask new questions about a history that I thought I knew quite well. --David Dunn, Assistant Professor of Music, University of California Santa Cruz, USA About the Author Jennie Gottschalk (born 1978 in Stanford, CA) is a composer based in Boston. She holds a bachelor's degree in composition from The Boston Conservatory (2001), and a masters degree and doctorate from Northwestern University (2008). Teachers have included Larry Bell, Yakov Gubanov, Jay Alan Yim, Augusta Read Thomas, and Aaron Cassidy. Recent performances in Los Angeles (Dog Star Orchestra) and Chicago (Northwestern University Symphony Orchestra and Contemporary Music Ensemble). Her dissertation and current work explore connections between American pragmatist thought and experimental music. Current projects include a string quartet, a childrens book, an experimental music blog (, and a residency at the Conway School of Landscape Design. For additional resources related to this book, please visit the authors website at

Jennie Gottschalk - Experimental Music Since 1970 Book

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SFO Super Shuttle VS Hollywood Town Car; Byron Coley & Thurston Moore: Bull Tongue column; Rej T Broth: A Field in England; Michael Hurley: The Accountant; Chris D: Alain & Romy; Alan Bishop: Another Victory for the World's Greatest Game; Leah Singer: Louis Armstrong House; Tom Givan: Best Sellers; Marie Frankland: Big Berghain; Scott Foust: The Big Bluff; Tara Young: David Bowie live at Fort Apache; Tosh Berman: David Bowie & Scott Walker Punched; Mats Gustafsson: Polly Bradfield Solo Violin Improvisations; Matt Krefting: Call Me Lucky; Todd Abramson: Candlewood Suites, Jersey City;  Kendra Smith: Chirgilchi Collectible; Ariella Stok: Ornette Coleman's Funeral; Trevor Block: Compilation Albums; Samara Lubelski: Keith Connolly interview; Bruce Russel: Guy DeBord Panegyric; Barbara Manning-Vargas: Die Art Fuer Immer und Ewig; Brigid Pearson: DOOB3D; Sharon Cheslow: Dust on the Nettles; Tesco Vee: Fanzines, Bomdage, Death Threats & the FBI; Suzy Rust: Five-and-a-half Tragic Cleaning Ladies; Ray Farrell: John Fogerty; Beans McCuttone: Romain Gary The Talent Scout; Jessi Leigh Swenson: Get in the Car, You Herbs; Naomi Yang: Girls About Town; Richard Meltzer: Greater and Grander; Brian Turner: Alexander Haacke interview; Chris Stigliano: Hawkwindlive Birmingham; Bree: Hermitage; Andrea Feldman: Ilitch & Ruth; Phil McMullen: In Gowan Ring The Serpent & the Dove; Dylan Nyoukis: Joe Jones Solar Music at Sierksdore; Todd Abramson: Two Paragraphs about Bob Lawton; Charles Plymell: Mirian Linna Down Today; Tony Rettman: Ross Lomas City Baby; John Sinclair: Steve Mackay; Bree: Medicaid; Joe Carducci: Alexander Medvedkin and Chris Marker; Ashley Meeks: Melancholia; Irene Dogmatic: Claire Messud The Last Life; Hisham Mayet: Musical Genres Researched in 2015; Michael Layne Heath: Night Final: a Short Story; Nick Mitchell: No Form; Georganne Deen: Lewis Nordan Wolf Whistle; Lili Dwight: November Sundays; Christina Carter: Novitate Phenom; Alex Behr: Observations on a Miscarriage; Emma Young: On Side A; Gregg Turner: Open Mike; Tom Greenwood: Open Space Preserve; Tom Lax: Pass the Ronco I Think I'm Popeil; Suzy Rust: Rags October 1970; Tom Lax: Regurgitations of a Ruminant; David Greenbereger: The Rise to Power of the Letter U; Eddie Flowers, Pamela Beach-Plymell, Georganne Deen & Ira Kaplan: Rock-a-Rama short format reviews; Orchid Spangiafora: Rocket from the Tombs live at Johnny Brenda's; Andy Schwartz: Otis Rush & Albert King; John Sinclair: Rollins/Monk More Than You Know; Emily Hubley: Room; Karen Consytance: Selbe Gehort Musik; Rej T Broth: Nina Simone at Montreux; Owen Maercks: Some Notes on the Guitar; Donna Lethal: Spell M-A-N; Joanne Robertson: Lucy Stein interview; Erika Elizabeth: The Suburban Homes; Sharon Cheslow: Eva Svankmajerova; Maria Kozic: Svengoolie; Marc Masters: Carter Thornton Mapping the Ghost; Hisham Mayet: Trinidad; Gerard Cosloy: Wendy's SF; Lisa Marie Jarlborn: What Do Women Want; Angela Jaeger: What's Your Sign?; Nigel Cross: Wilde Flowers; Bree: Writing Books of Poetry.


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3rd issue of the sound arts and experimental music annual review, devoted to the question of sound space. Featuring: Alvin Lucier, Kirsi Peltomäki, Michael Asher, Seth Cluett, Jeffrey Mansfield, Michael Gallagher, María Andueza Olmedo, Arthur Stidfolde, Éric La Casa & Jean-Luc Guionnet, Christina Kubisch, Maryanne Amacher, Paul Panhuysen, Douglas Kahn, Emmanuel Holterbach, Christian Wolff, Paul Hegarty, Ivana Miladinović Prica, Tom Mays... Tacet is a new research publication dedicated to sound arts and experimental music. Published annually and bilingually (French, English), its ambition is to create an interdisciplinary and international space of reflection for this practices, in all its aesthetic diversity. Tacet, as John Cage showed so well in 4'33'', designates a moment of silence observed by an instrumentalist during the whole period of a movement. By extension, it becomes, as the title of this publication, a moment of introspection, of reflectivity and reflection, where music interrupts itself to give way to research and theoretical questioning.  Tacet aims, in this way, on the side of sound arts and experimental music, to contribute to the renewal of theoretical research by confronting and intersecting artists and musicians' speeches, studies coming from aesthetics and philosophy of art, from the critical renewal of musicology, from cultural studies and gender studies, from political thought, from social sciences and geography.  Tacet is part of the Ohcetecho series, dedicated to sound arts and experimental music, published by Les presses du réel (editorial board: Matthieu Saladin and Yvan Etienne).

Tacet #03 – From Sound Space Book

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Studies in sound continue to emerge as a dynamic field spanning multiple disciplines, from sociology to literature, technology to aesthetics, musicology to gender, and crossing over between theory and practice, academic scholarship and artistic projects. The intensity of such a range of disciplines and discourses gives compelling suggestion for paradoxically understanding sound as more than an object of study, and it is this more than which interests me. Brandon LaBelle, ‘Lecture on shared space’ The Listening Reader brings together a number of essays that explore the role of sound and listening in the context of contemporary art. They engage with the specific timbre that the act of listening, and the paradigm of sound bring to the practice of artists; how this paradigm is present within a broader discourse, including the creative arts, sciences, philosophy and politics; and how art that begins with, or requires listening circulates in the world of the art gallery. The texts in this anthology emerged from conversations, talks, and performances by a number of artists, curators, and writers whose work was presented at, or contributed to the making and public programme of Listening, a Hayward Curatorial Open exhibition that toured the UK from September 2014 to March 2016. It includes previously unpublished essays and contributions from Ed Atkins, Sam Belinfante, Mikhail Karikis, Joseph Kohlmaier, Brandon LaBelle, Ed McKeon, Imogen Stidworthy and Laure Prouvost. 120pp with 31 illustrations in colour and b/w


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A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. Issue no. 4. In this issue: Alex Behr: Junior High Reviews; Tosh Berman: Tom Phillips IRMA the Opera; Alan Bishop: Pink Floyd Animals: Trevor Block: Rowdy Roddy Piper; Karla Borecky: Antonin Artaud: Pour en finir avec le jugement de dieu; Bree: Kōbō Abe Woman of the Dunes; Benoit Chaput: Plume Latraverse; Sharon Cheslow: Stand-up Comedy; Byron Coley: Column; Karen Constance: Igor Wakhevitch Hathor; Nigel Cross: Jeff Cloves; Chris D: Humanity of Femme Fatales; Georganne Deen: Chinatown L.A. + Cathy Ward; Lili Dwight: Farscape; Erika Elizabeth: Mark Sten All Ages; Ray Farrell: Charles Bukowski; Andrea Feldman: Mix Tape Memories; Eddie Flowers: Review Column; Scott Foust: Jewel Robbery; Tom Givan: Matthew Stokoe; David Greenberger: Danny Kaye; Tom Greenwood: Quiet Music Festival; Mats Gustafsson: Sperm/Samsa Trio; Michael Layne Heath: Andrew Matheson Sick on You; Tim Hinely: George Foster's 1977 Season; Michael Hurley: Jackpine Jamboree; Lisa Marie Jarlborn: Bob Dylan 'Sad Eyed Lady'; Danielle Jelley-Rettman: Trenton Punk Rock Flea Market; Ira Kaplan: Steve Miller Band; Maria Kozic: Curing a Migraine with Two Movies; Matt Krefting: Ndegeocello/Sawyer/Krimsky Trio; Tom Lax: Review Column + reviews; Heather Leigh: Hot Gossip; Ted Lee: Illustrations; Donna Lethal: YouTube Reviews; Alan Licht: Peter Stampfel live; Owen Maercks: How I Listen; Marc Masters: Bromp Treb Stickless; Hisham Mayet: Tommy Jay Tall Tales of Trauma; Phil McMullen: The Amazing Picture You; Richard Meltzer: Better; Phil Milstein: Bull Tongue 1-3; Nick Mitchell: Nine Invisibles Pureheadspace; Thurston Moore: Column; Bill Nace: Farscape; Dylan Nyoukis: Red Brut Rebirth; Gary Panter: Funny Animals Portfolio; Brigid Pearson: Avocado; Charles Plymell: Deborah Davis The Trip; Tony Rettman: Rode Grey; Joanne Robertson: Sean Nicholas Savage Other Death; Bruce Russell: Second Hand Records; Suzy Rust: Book Signing for Thelma Blumberg + Woolaroc; Savage Pencil: Cameron Jamie; Andy Schwartz: Mark Ribowsky Dreams to Remember; John Sinclair: The Way You Look Tonight; Leah Singer: Gary Panter interview; Orchid Spangiafora: Allen Ravenstine Pharoah's Bee; Chris Stigliano: Mother #2 & 3; Brian Turner: Liimanarina + Ornerys; Gregg Turner: The Present; Tesco Vee: Collecting & the Voices Within; Valerie Webber: Your Ideal Love Mate; Tara Young: Mötley Crüe live.


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Includes specially-compiled 60 minute CD of field recordings from the Gruenrekorder label. An excellent primer for aficionados and newcomers alike. This may be the first prose collection that pays as much attention to recorded works as it does to the concepts behind the recording and the science behind the sounds. A Closer Listen DO ANIMALS SPEAK TO EACH OTHER?WHAT DO THEIR SONGS MEAN?WILL WE EVER BE ABLE TO UNDERSTAND THEM AND TALK BACK? Ever since the accidental discovery of whale song in 1967, the idea of complex animal sentience has been gaining strength within the scientific community. A growing number of researchers and academics are exploring the idea that animals enjoy music on a similar level to human beings. Animal Music is the first anthology to present an overview of the current state of this vital debate. Its authors have spoken to the leading scientists, researchers and musicians in the field to uncover hidden meanings and new perspectives. They visit the world’s largest library of animal sounds, hack into the mysterious sonic world of shrimps, travel back in time to the point where animal and human songs diverged, and decode the latest neuroscientific findings about animal music and communication. The book includes exclusive interviews with Chris Watson, Jana Winderen, Yannick Dauby, Slavek Kwi and Geoff Sample as well as features on Bernie Krause, David Rothenberg and Olivier Messiaen and many more. Includes specially-compiled 60 minute CD of field recordings from the Gruenrekorder label. 01 Tikal Dawn – Andreas Bick, Germany02 hermetica – Daniel Blinkhorn, Australia03 Amazons & Parrots – Rodolphe Alexis, France04 Grand Canal Springs (Excerpt) – Tom Lawrence, Ireland05 seals – Martin Clarke, United Kindom06 BOTO (extract) -ARTIFICIAL MEMORY TRACE, Ireland07 Adélie_penguins (Excerpt) – Craig Vear, United Kindom08 Pilot Whales (Excerpt) – Heike Vester, Norway/Germany09 Brame, septembre 2011 – Marc Namblard, France10 formica aquilonia, sweden – Jez riley French, United Kindom11 Schwebfliegen – Lasse Marc Riek, Germany12 central mongolian high mountain range habitat – Patrick Franke, Germany13 Otus spilocephalus – Yannik Dauby, France14 untitled#292 – Francisco López, Spain15 Summer Sunset 01 – Eckhard Kuchenbecker, Germany16 Waldkauz-Balz – Walter Tilgner, Germany17 WHAT BIRDS SING – David Rothenberg, United States of America Animal Music rides in on a wave of energy that fuses the worlds of science and art in an accessible and engaging way. A definite page turner if ever there was one. Caught by the River

Animal Music - Sound & Song in the Natural World Book+CD

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