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"Imagine yourself at a concert hall looking at a symphonic orchestra on stage. Have you ever noticed that high-pitched strings sit left of low-pitched strings? Going from left to right, one usually sees violins, violas, cellos and double basses. That is, one moves from high pitches on the left to low pitches on the right. Why? The orchestra's arrangement is not a cultural oddity, like driving on the right side of the road. Rather, it is due to our own biological makeup."

"Luke Jerram's Sky Orchestra project "explores how one can perceive an artistic experience" whilst sleeping."

"CalArts opens its Digital Arts and Technology Expo, and one project is continuing to pique our interest in bio-orchestras. "Cultivating Frequencies," a collaboration among music technologist Colin Honigman and designers Sean Chen, Marc Dubui, and Wen Han, is turning a garden into a generative music machine, including a interactive element that turns the individual plants into-touch sensitive instruments."

Ge Wang makes computer music, but it isn't all about coded bleeps and blips. With the Stanford Laptop Orchestra, he creates new instruments out of unexpected materials-like an Ikea bowl-that allow musicians to play music that's both beautiful and expressive. "

"The upcoming Lincoln Aviator's warning tones were actually recorded by a full symphony orchestra. When a car wants to communicate a warning, most of them will emit a beep or a boop. Some will make a high-pitched tone, others a frantic ding, and still others will warn with a computerized voice telling you exactly what's wrong."

"Trained as a musical composer, Beer (who created a 'Vessel Orchestra' for his 2019 solo show at the Met Breuer) works with the acoustic fingerprints of architecture, asking vocalists to stimulate their natural harmonics. 'Since I was a kid, I could hear the notes of buildings,' he says, explaining that a room is like a seashell, constantly making its own sounds.  When he found himself on the wrong side of the Sydney Opera House, he led his four local singers to an external nook of the building, then asked them to lock lips and treat each other's bodies as architecture. 'The acoustic space that they're working with is the empty mouth of the other person that they're singing through.'"

"Landfill Harmonic is an upcoming feature-length documentary about a remarkable musical orchestra in Paraguay, where young musicians play instruments made from trash."

"For most fans attending a baseball game is a summer diversion, an addiction, an act of devotion. I'm a music critic, so for me it's something else too: an immersion in bustling, jumbled, enveloping sound. And if you think of the Yankees as an athletic orchestra, the team has a comfortable and acoustically lively new concert hall. What if I treated a game as a kind of outdoor musical piece? "

An audio work and installation based on the moment when an orchestra gets in tune, before a performance. An event that I wish could last forever, which is exactly what 'Stay Tuned' is about. For this installation piece consisting of a multiple speaker setup, Rutger Zuydervelt (better known under his Machinefabriek moniker) asked 150 artists to record an 'A', the note an orchestra normally tunes to. Each recorded note has it's own characteristics, and is part of the whole.

"Krause spends many pages challenging the human monopoly on musicianship. He asserts that in the wild, animals vocalize with a musicianly ear to the full score of the ecosystem - a mix of competition and cooperation. Since animals depend on being heard for various reasons (mating, predation, warning, play), they are forced to seek distinct niches: "Each resident species acquires its own preferred sonic bandwidth - to blend or contrast - much in the way that violins, woodwinds, trumpets and percussion instruments stake out acoustic territory in an orchestral arrangement." "

"The Enlightenment is described as a "hidden concert of pure light", performed by an uninhabited orchestra of lighting elements, including stagelights and high-powered bulbs. It reminds me somewhat of Francois Bayles "Acousmonium", but with a variety of lamps instead of speakers. Neon lights instead of violins, strobe lights instead of drums, etcetera."

"Bernie Krause is an American musician and soundscape ecologist. He has been recording, researching and archiving soundscapes for over 40 years. ....It celebrates the work of Krause's work, adding a simple but fitting and room-filling spectrogram to the recorded soundscapes, emerging the listener in sound, and being able to recognise the animals with visual cues. Here's a 360-degrees video, if your browser can play that: The idea is quite simple, but the soundscapes are compelling and diverse. While it can sometimes be hard to get an audience interested in sound-based works in a museum, United Visual Artists did a great job of adding a simple visual counterpart to keep those who aren't used to only listen to sound, interested. If you want to know more about the work of Bernie Krause, I suggest watching this TED Talk about "The voice of the natural world"."

"Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen's recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50's, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years."

"In Krause's world, everything is seen through the lens of sound. He even maps by ear. In one fascinating passage, he surveys a Costa Rican jungle, dispensing with the "100-meter square grids," which anyway "nonhuman animals don't understand." He ends up with "amoebalike shapes, each an acoustic region that, while mutable, would tend to remain stable within a limited area over time.""

"Fuzzy Logic is a speculative project that responds to noise pollution with music composition. Traffic noise is now the inorganic combination of individually designed sounds. A recent European law states that new models of electric and hybrid vehicles will have to make a noise by 2019: a great design opportunity! Exploiting the potential of current shifts towards electric transport, the project presents an alternative: noise itself becomes the object of design, and traffic is turned into a musical experience. Future e-cars are approached as speakers on wheels and rather than design the sound of single vehicles, we can compose the sound of traffic as a whole. Indian traffic epitomizes the future of noise, in increasingly overpopulated urban ares across Asia and Africa. The focus is on the iconic indian tuktuk. Each one plays an instrument as part of a system designed to be randomly harmonic and make musical sense as a whole - regardless individual tuktuks driving patterns. Traffic becomes a jam session, a kind of moving orchestra."

"As part of RBMA L.A Festival, Ryoji Ikeda presented a new piece called A [for 100 cars], another one based in his exploration of sine waves. This time the concert was done through the custom sound systems of 100 cars which gathered in Los Angeles, each of them equipped with a custom sine wave synth created by Tatsuya Takahashi. Each devices was designed to play a score which goes around the different conceptions of the fundamental note, A, commonly considered in 440Hz, but here questioned in mesmerizing variations."

Dr. Bernie Krause, creator of Wild Sanctuary, demonstrates that every living organism produces sound. This presentation focuses on the symbiotic ways in which the sounds of one organism affect and interrelate with other organisms, local and regional, within a given habitat. Learn about unusual soundscapes and their relevance to preserving natural sounds worldwide. Biophony--the notion that all sounds in undisturbed natural habitats fit into unique niches--will be used to illustrate the ways in which animals taught humans to dance and sing.