Written work has focused on the following areas:
- Contemporary Music: in particular –
- Electroacoustic (or sound-based) composition/electroacoustic music studies
- Music dramaturgy
- Access to/facilitating the making of contemporary music
- Contemporary music in a cross-arts context
- Composition and devising practices
1970/5
Several concert and record reviews in (a.o.): Soho Weekly News & Columbia Spectator (New York).
1975
Two reviews ‘Briefly Mentioned’ in Ethnomusicology 19/3:496-497.
1977 “Music in Holland”, EAR Magazine 3/2: 3.
1978 “On DARMS: (Digital Alternative Representation of Musical Systems)” in Informatique musicale 1977. Paris: C.N.R.S., 17-26.
“Foreign Composers Living and Making Electronic Music in Holland”, Key Notes 1978/2: 53-55.
1980 “At a Fork on the Way – The African Lesson”, in S. Moore, ed. There’s No School for Feeling: a Report on Musicultura 1979. Breukelen: UNESCO & Ed. van Beinum Foundation, 53-62.
1981 “Music and Politics: a Reply”, EAR Magazine 6/3: 2.
European corresponding editor for EAR Magazine until 1985.
“Arabic Taqsim Improvisation: a Methodological Study Using Computers”, and
“Computer Musicology and Politics: Why are They Never Associated”, in H. Charnassé, ed. Informatique et musique: actes du seconde symposium – Orsay 1981. Ivry-sur-Seine: ELMERATTO/C.N.R.S., 21-30, 243-254.
“New Music and the Media, or Mr. Businessman’s Veni, Vendidi, Vici “, EAR Magazine 7/2: 3,4.
1983 “New Notation?”, EAR Magazine 8/1-2: 11-16.
“The Sound of Music”, NRC Handelsblad (Scientific Supplement) 21 Oct., p. 1.
“Foutloos Musiceren: Techniek vs. Technologie”, Politiek en Sociale Vorming 1/3: 12-14.
“La vidéothéâtrie: son SON”, Nordeste 3: 49-51.
At a Fork on the Way. EAR Magazine 8/5, 9/1, 9/2, 9/3 (manuscript 87p).
1984 “Over het Muziek-Video-Theaterstuk, Electronique Vidéo Circus”, Toneel Teatraal 105/4: 25-27.
“De Wereld van de Computer in de Muziek”, in Catalogus: Computer Festival. Amsterdam: De Meervaart, 38-43.
1985 “Studij eksperimentalne muzike: oslobadnje ili izolacija nova muzike?” (Experimental Music Studies: Liberation or Isolation of New Music?), Zvuk (Sarajevo) 1/1985: 53-58.
“Das Studium der experimentellen Musik an der Universität Amsterdam: Befreiung oder Isolierung der neuen Musik?”, Musik und Bildung 10/Okt. 1985:693-694, 703.
“Duchamp, Dada Composer and his Vast Influence on Post-World War II Avant-garde Music”, Kunstlicht Nr. 17 Winter 1985/1986: 18-25 (see also French translation and further English publication both in 1988.
+ (1988) English version in Avant Garde No. 2 ‘Duchamp’.
“Music and Nature: A series of compositions”. in G. J. Lischka, ed. Alles und noch viel Mehr – Das Poetische ABC: Die Katalog Anthologie der 80er Jahre. Bern: Benteli: 67–71.
“Musicology and Computing Science: An Update – A New Specialization: A New Department”, in R. Wegman & E. Vetter, ed. Liber Amicorum Chris Maas. Amsterdam: Univ. of Amsterdam, 207-214.
Music Editor for Avant Garde (Rodopi).
“Comp (exp. mus) = ft(sum)parameters’ ( ~ )” Avant Garde No. 0 ‘Presentation’: 27-40.
“‘Spar deinem Schiff die unbequeme Fracht / Den Mißlaut meiner Schmerzen deinem Ohr’ – Die Arbeit eines Komponisten bei Heiner Müller-‘Philoktet'”, Basler Theater – Magazine 3-4/88: 2pp.
“Vondel + een experimentele componist = ?” in Programme book for Vondel’s Faeton. The Hague: De Appel, 1p.
“Over György Ligeti’s Violoncello Concert”, Preludium 1988/10: 35-37 and Preludium 1991/12: 35-38. (Reprint: 1991/12: 35-38.)
“Duchamp, Compositeur Dada, et son influence sur la musique d’avant-garde depuis la guerre”, in S. Briosi & H. Hillenaar, ed. Vitalité et contradictions de l’avant-garde: Italie-France 1909-1924. Paris: Librairie José Corti: 241-254.
1989 “John C A G E: anarchist musician”, Avant Garde 3 ‘Anarchia’: 67-84. translated and published in Flemish in Perspectief 1994.
“Musicology and Computing Science – a New Major at the University of Amsterdam: Problems and Solutions Involved in its Foundations”, Musicus 1/i: 9-14.
“Veni, Vendidi, Vici (Forretningsstandens Neoklassisisme: Jeg Kom, Jeg Solte, Jeg Vant) – Den Nye Musikken og Media”, Ballade (Oslo) 1989/2: 50-55.
1991 “Leigh Landy over nationalistische stijlen: is een koto amerikaans?”, Het Gebouw
(Noordhollands Filharmonisch Orkest) 1/1991: 5-6.
1992 “A-RI-A – A Work in Progress (of Getting Started)” Composers Desktop Project Quarterly (York) 15: 15–17.
Letter re: “The dilemma of the marginalization of computer music”, Computer Music Journal 16/1: 4–5.
“Academic? Underground? – The image the academic world has (or doesn’t have) of the ‘contemporary underground'”, Vital: Magazine for Electronic and Electroacoustic Music 23:10-12.
“La musique éléctroacoustique” (of François Bernard Mâche) Les Cahiers du CIREM (Rouen) 22–23: 79–96. (written with Christiane ten Hoopen)
+ Special Editor for Avant Garde – Nr. 7 ‘Avant Garde and Technology’
including the article above
Guest editor of an Interface number on the theme, “Sound transformations”.
“Oo, Li Po”, in Henriette Ritter and Annelies Schulte Nordholt, eds. La Révolution dans les lettres. Rodopi (Amsterdam) 381–390.
“University College Bretton Hall – Studio Report”. International Computer Music Conference 1994 Proceedings. Århus, Denmark: 499–500 (written with Paschall de Paor).
Flemish translation of “John C A G E: anarchist musician”, (Avant Garde 3 ‘Anarchia’: 67-84, 1985) translated and published in Flemish in Perspectief 1994.
1995 “Computer-Musik ein guter Grund, zu Hause zu bleiben? Ja und nein. Neue Zeitschrift für Musik 3–4/95: 31–34.
“Too Many Languages? Has Contemporary Music Been Responsible for Its Own Marginalisation?” “Professorial Inaugural Lecture – Bretton Hall” National Arts and Education Archives, Bretton Hall (Wakefield), 13pp. + ill., cassette
Book review: Sophie Fuller and Nicola LeFanu (eds.) “Reclaiming the Music”. Contemporary Music Review Vol. 11 (1994) Journal of New Music Research Vol. 11/4: 398–401.
“Artists are too Concerned with Today and Yesterday – What about Tomorrow?” in Dance ’95: Move into the Future. Proceedings. Centre for Dance Studies, Bretton Hall (Wakefield) 18–26.
Co-editor of the volume of Contemporary Music Review as mentioned in the previous article.
2000 “Music as Organised Notes and Sound: The electronic works of Ton de Leeuw”. Occasional Papers in the Arts and Education. Vol. 8 ed. Tim Stephenson. The National Arts Education Archive, West Bretton, UK: 65–77.
“Recording the Ephemeral in Music, an Art of Interpretation”. Occassional Papers in the Arts and Education. Vol. 9 “Recording the Ephemeral”, ed. Philip Butterworth. The National Arts Education Archive, West Bretton, UK: 1–10.
“The Music, Technology and Innovation Research Group (MTIRG) at De Montfort University – Studio Report”. International Computer Music Conference 2000 Proceedings. Berlin: 432–435 (with Andrew Hugill).
“Co-hear-ence and Electroacoustic Music”. SBC2000 Anais do XX Congresso Nacional da Sociedade Brasileira de Computação. (Keynote speech: 19pp on CD-ROM).
2001 “From Algorithmic Jukeboxes to Zero-Time Synthesis:A Potential A – Z of Music in Tomorrow’s World – a conference provocation”. Proceedings: “Music without Walls? Music without Instruments?” (10pp on CD-ROM) and Organised Sound: an International Journal of Music Technology 6(2): 91–96.
“Analysis without Ink”. Analyse et Création Musicales. L’Harmattan, Paris: 253–262.
“Measuring Intention against Reception in Electroacoustic Music: a new opportunity for analysis”. Proceedings: International Computer Music 2001 Havana: 26–29.
2002 “The Emancipation of Sound in that Box We Call a Theatre”. Proceedings: Conference MAXIS Symposium 2002. Sheffield: 65–71.
“La synthèse sonore: enfin l’émancipation?”. Actes: 9e Journées d’Informatique Musicale, Marseille: 5–15 (Keynote speech).
ElectroAcoustic Resource Site (EARS) first put online: www.ears.dmu.ac.uk.
2003 “Voulez-vous changer votre paradigme avec moi ce soir?”. MAXIS Symposium 2003. Leeds: 73–78.
“In Transit or Realising One’s Aesthetic when the Technology Finally Catches Up”. MAXIS Symposium 2003. Leeds: 79–84 (with Evelyn Jamieson, Kia Ng).
Book review, Thomas Licata, ed. Electroacoustic Music: Analytical Perspectives. Greenwood Press, Westport, CT. in Notes September, 2003: 162–163.
Book reviews, Bernd Schulz, ed. Felix Hess: Light as Air, Robin Minard: SilentMusic – Between Sound Art and Acoustic Design, Christine Kubisch, KlangRaumZeitLicht, Kehrer Verlag, Heidelberg, 2001, 1999, 2000. in Organised Sound 8/2, 227–229.
“Introducing the ElectroAcoustic Resource Site (EARS)”. International Computer Music Conference 2003 Proceedings. Singapore, 115–118 (with Simon Atkinson).
“Measuring Intention against Reception in Electroacoustic Music”. SAN Diffusion. October 2003, 2–6 (with Rob Weale).
“Borrowing or Stealing? Celebration or Global Village? Interculturalism in Contemporary Music from a Composer’s Point of View”. in Robert Mawuena Kwami, ed. Intercultural Music, Vol. 5 (MRI Press, Pt. Richmond, CA), 103–115.
“About the Electroacoustic Resource Site (EARS) Project”. SAN Diffusion. November 2003, 4 (with Simon Atkinson).
2004 “The ElectroAcoustic Resource Site (EARS): philosophy, foundation and aspirations”. Organised Sound: an International Journal of Music Technology 9(1): 79–85 (with Simon Atkinson).
“There’s Good News and There’s Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to”. in 2004 IEEE Conference on the History of Electronics – Conference Proceedings (CD-ROM). IEEE History Center, Rutgers University.
2005 “The Music, Technology and Innovation Research Centre (MTI) at De Montfort University – Studio Report”. International Computer Music Conference 2005 Proceedings. Barcelona, 507–511.
“Why I Haven’t Written about the Pieces Played at This Year’s ICMC” in Array (online journal of the International Computer Music Association).
2006 “The Intention/Reception Project” in Mary Simoni, ed. Analytical Methods of Electroacoustic Music. Routledge (New York): 29–53 + appendix on DVD.
+ (Korean translation: http://music.dongguk.ac.kr/files/research_235059263-Analytical%20Methods%20of%20Electroacoustic%20Music_The%20Intention_Reception%20Project%20(3).pdf)
“La Zététique: Musique mixte créée en collaboration”. in Marc Battier, Bruno Bossis, Anne Veitl, eds. Musique, instruments, machines. Paris: MINT/OMF/Université de Paris IV-Sorbonne: 69–79.
“Electroacoustic Music Studies and Accepted Terminology: You can’t have one without the others”. EMS06 Beijing Proceedings. http://www.ems-network.org/spip.php?article242.
2007 “The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: Going global and addressing the young”. International Computer Music Conference 2007 Proceedings. Copenhagen, I: 141–144.
“The ElectroAcoustic Resource Site (EARS) approaches its next phase: going global and addressing the young”: Electroacoustic Music Studies Conference 2007, Leicester. Online publication: http://www.ems-network.org/spip.php?article284.
The ElectroAcoustic Resource Site (EARS). Journal of Music, Technology and Education 1/1: 69–81.
2008 “On the Paradigmatic Behaviour of Sound-based Music”. in Tatjana Böhme-Mehner, Klaus Mehner and Motje Wolf, eds. Elektroakustische Musik –Technologie, Theorie als Herausforderung an die Musikwissenschaft / Electroacoustic Music – Technologies, Aesthetics, and Theories – a Musicological Challenge. Essen; Die Blaue Eule: 11–22.
“Re-composing Words”. in Cathy Lane, ed. Playing with Words: The spoken
word in artistic practice. CriSAP/RGAP, distributed by Cornerhouse Publications, Manchester: 140–144. + excerpt of “Rock’s Music” on their double CD and the full work online: http://www.gruenrekorder.de/?page_id=177.
“Where Does Sound Art Fit?” / “Hvor passar lydkunst inn?”, in Jøran Rudi, ed. Absorpsjon og resonans – lyd og mening / Absorption and Resonance – Sound and Meaning. Oslo: Notam: 128–137.
Yingchun Tian, Hongji Yang, Leigh Landy – “MDA-based Development of Music-learning System”. Proceedings of the 14th Chinese Automation and Computer Science Conference in the UK. Sijing Zhang, Dayou Li, eds. Colchester: Pacilantic International: 97–102.
“On the Paradigmatic Behaviour of Sound-based Music”. EMS08 Paris Proceedings. http://www.ems-network.org/ems08/paper.html.
+ Martin Supper: “Landy, Leigh” in: MGG – Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Ludwig Finscher, ed; 2nd revised edition, Supplement. Kassel/Stuttgart: Bährenreiter/Metzler, columns 457-459.
2009 “Re-introducing Life into Art: Musical Sampling/Recycling of Sounds”. Re-Recycling_Sampling_Jamming: Künstlerische Strategien der Gegenwart (Conference – Akademie der Künste, Berlin 2/09) recording of talk: http://www.recycling-sampling-jamming.de/programm.php?what=sa
“Sound-based Music 4 All”. in Dean, Roger T., ed. The Oxford Handbook of Computer Music. Oxford. Oxford University Press: 518–535.
Yingchun Tian, Hongji Yang, Leigh Landy – “An Ontology-based Model-
Driven Approach for a Music Learning System”. 21st International Conference on Software Engineering and Knowledge Engineering Proceedings (SEKE 09, Boston): 739–744.
“Écoute réduite – a wrong turn in the history of electroacoustic music?” Keynote address: NZEMS, University of Auckland. http://hdl.handle.net/2086/5226.
“Digital Musicking and Co-hear-ence”. Keynote address at the “Outside the Box: Practice, Participation and Method in Electronic Music.” AHRC conference at City University, 16 November 2009. http://hdl.handle.net/2086/5072.
2010 “Increasing Access to Sound-based Music – www.e-EMS”, EMS09 Buenos Aires Proceedings. http://www.ems-network.org/ems09/proceedings.html.
Book reviews, James Saudners, ed. The Ashgate Research Companion to Experimental Music. Farnham: Ashgate, 2009. in Organised Sound 15/1, 75–77.
“Educating Students in Electroacoustic Music Studies: What does this consist of and how can we best deliver it?” EMS10 Shanghai Proceedings. http://www.ems-network.org/spip.php?rubrique53
Co-edited book with Raúl Minsburg. En el Límite: escritos sobre arte y technológia. Lanús: Ediciones de la UNLa: Coleccion Humanidades y Artes. “Introduccíon” with Raúl Minsburg: 8-9, “El projecto Intención/Recepción y su relevancia en el campo de la producción y en el de la educación musical” with Rob Weale: 23-34.
“From Music in the Laboratory to Music of the Folk: On the future of sound based music” invited paper in Sonic Ideas/Ideas Sónicas Vol. 3, No. 1:18–22 theme “Música en el Holodeck” invited article.
2011 “Thinking Concretely about Pierre Schaeffer” in Jerica Ziheri, ed. Pierre Schaeffer: mediArt: Proceedings of the International Conference. Rijeka: Muzej moderne I suvremene umjetnosti: 69–74 + pdf at mmsu.hr.
“Art for Goodness[’) Sake: It’s your tea party ad you can cry if you want to”. EMS11 New York Proceedings – keynote address. http://www.ems-network.org/spip.php?rubrique57.
Book review: Jacqueline Oskamp. Onder Stroom: Geschiedenis van de elektronische muziek in Nederland. in Organised Sound 16/3, 286–287.
2012 “Discovered whilst entering a new millennium: A technological revolution that will radically influence both music making and music education”. in Journal of Music, Technology and Education. 4/2-3: 181–188.
“The Analysis of Electroacoustic Music, the Differing Needs of its Genres and Categories” (with Simon Emmerson) EMS12 Stockholm Proceedings. http://www.ems-network.org/spip.php?rubrique58.
2013 “Widening Participation in Electroacoustic Music: The EARS 2 pedagogical initiatives” (with Richard Hall, Mike Uwins). Organised Sound 18/2: 108–123.
“music Technology, Music technology or Music Technology” in Contemporary Music Review 32/5: 459–471.
“eOrema – a word of welcome”. eOrema I. http://www.orema.dmu.ac.uk/?q=content/eorema-%E2%80%93-word-welcome
Online publication of the “Compose with Sounds” website for the software of that name and all activities related to it: cws.dmu.ac.uk.
2014 Online publication of the EARS 2 pedagogical site: ears2.dmu.ac.uk.
2015 “Editorial – 20 Years of Organised Sound: Looking back and forward” in Organised Sound 20(1): 1–9.
+ two book reviews ‘briefly mentioned’ ibid 139–140.
“Über die Zusammenarbeit mit Heiner Müller: “The idea is to feed, furnish and let the space speak for itself” (Artaud)
and “Dokument: ‘Spar deinem Schiff die unbequeme Fracht, Den Mißlaut meiner Schmerzen deinem Ohr’: A Composer’s Work with Philoktet (1987)” in Julia H. Schröder (Ed.), Im Hörraum vor der Schaubühne. Theatersound von Hans Peter Kuhn für Robert Wilson und von Leigh Landy für Heiner Müller”. Bielefeld: Transcript, 89–112 and 113–118 respectively.
“Wprowadyanie młodzieży w świat organizowania dzwiękow: EARS 2 i Compose with Sounds” (transl. Małgorzata Cnota). Glissando #27 “Dziecko” (Theme: The Child) 83–89.
“Comment l’analyse fondée sur l’écoute peut-elle faciliter la compréhension et l’appréciation de la musique électroacoustique?” in Nicolas, Marty, ed. Musiques électroacoustiques Analyses <–> Écoutes. Sampzon, France: Delatour, 209–228. (Keynote talk at 2014 EuroMAC conference. (Translation: N. Marty with the author.)
2016 “Trevor Wishart’s Children’s Stories II from Encounters in the Republic of Heaven: An analysis for children of a sample-based composition” (197–208), joint Introduction (3–7) and joint chapter, “The Analysis of Electroacoustic Music: The differing needs of its genres and categories” (8–27) in Expanding the Horizon of Electroacoustic Music Analysis Cambridge: Cambridge University Press, x, 407p., co-edited with Simon Emmerson. NB: pdfs of book proofs included.
“Sound Art vs. Electroacoustic Music: Finding value for the heart and the brain” in Thomas Gardner and Salomé Voegelin, eds. Colloquium: Sound Art – Music. Winchester, Washington: Zero Books, 100-108.
2017 “But Is It (Also) Music?”. In: Marcel Cobussen, Vincent Meelberg and Barry Truax, eds. The Routledge Companion to Sounding Art. NY: Routledge. 17–26.
“The Sounds of Music”. In: Andrew King, Evangelos Hermonides and Alex Ruthmann, eds. Routledge Companion to Music, Technology and Education. NY: Routledge. 49-58.
“Finding a Way to Tie Technology, Aesthetics and Dramaturgy Together in Terms of Experimental Sound-based Music”. In: Martin Flašar, ed. Musica Artificiosa: Music as an art and Profession. Musicologica Brunensia 2017/1 issue 52: 5-16. Also available at: http://www.phil.muni.cz/journals/index.php/musicologica-brunensia.
“In Pursuit of the Innovative and the Accessible: Some of the driving forces behind my music and my research”. Journal of the Japanese Society of Sonic Arts, Vol. 9 No. 2: 10–15. Available at: http://data.jssa.info/paper/2017v09n02/3.Landy.pdf.
2018 “The Three Paths: Cultural retention in Chinese electroacoustic music”. In: Simon Emmerson, ed. Routledge Research Companion to Electronic Music: Reaching out with Technology”. Abingdon: Routledge. 77–95.
2019 Stephen Pearse, Leigh Landy, Duncan Chapman, David Holland and Mihai Eniu. ‘Composing with Sounds: Designing an Object-Oriented DAW for the Teaching of Sound-Based Composition’. Proceedings of the Sound and Music Computing Conference 2019, Malaga, Spain.
“Recomposing Sounds … and Other Things”. Organised Sound 24/2: 130-138.
Editorial – Bringing New Music to New Audiences. Organised Sound 24/3: 225–227.
2020 ‘Hildegard Westerkamp’s Beneath the Forest Floor (1992)’. in Miller Puckette and Kerry L. Hagan, eds. Between the Tracks: Musicians on Selected Electronic Music. Cambridge Mass.: MIT Press. pp. 39–62.
2021 ‘It’s Not (Just) About History and, by the Way, Which History?’ in Blake Stevens, ed. Teaching Electronic Music: Cultural, Creative, and Analytical Perspectives. New York and Abington: Routledge. pp. 123–137.
‘From AI Enabling Sound Spotting to Zeitgeist Incorporated into EMS: A potential A – Z regarding the future of our field of Electroacoustic Music Studies – a conference provocation’. Electroacoustic Music Studies EMS21 Conference. De Montfort University, Leicester 10-13 November 2021. https://zenodo.org/communities/electroacoustic-music-studies-network/search?page=1&size=20.
2022 ‘Re-componiendo la Radio Mexicana’ and ‘Re-composing Mexican Radio’. In Roberto Morales Manzanares and Cynthia P. Villagómez Oviedo, eds. El Callejón del Ruido: Creacion, ideas y tecnología resonancias e impacto (1994-2019). Loma Verde, MX: Ediciones de las Sibilas. pp 223–235, 376–385.