In Venezuela's El Sistema, music is both a means of government control and a form of emancipation for youth musicians

Why did we let the machines assimilate our musical culture? In a world where machines create most music, Alice Parsons is fed up, but what can she do? When she loses the only job she’d ever liked, she stumbles on a club that caters only to humans. She’s intrigued, and decides to inquire within. She discovers a group of rebels who’s values align with her own. The president of MuseFam, the largest supplier of AI generated music takes an interest in the group of rebels and wants them stopped. Someone from Alice’s past reenters her life, suddenly her world is turned upside down, and she’s forced to come to terms with her situation. Will Alice’s past ruin her future? Will she be able to reintroduce human produced music to a society brainwashed with AI generated rubbish? Find out in this Cyberpunk saga. If you like The Diamond Age, Ready Player One, or Blade Runner, then you will love Sonorous. Pick up Sonorous to discover this electrifying new series today!

Enduring lessons from the desert soundscapes that shaped the Christian monastic tradition For the hermits and communal monks of antiquity, the desert was a place to flee the cacophony of ordinary life in order to hear and contemplate the voice of God. But these monks discovered something surprising in their harsh desert surroundings: far from empty and silent, the desert is richly reverberant. Sonorous Desert shares the stories and sayings of these ancient spiritual seekers, tracing how the ambient sounds of wind, thunder, water, and animals shaped the emergence and development of early Christian monasticism. Kim Haines-Eitzen draws on ancient monastic texts from Egypt, Sinai, and Palestine to explore how noise offered desert monks an opportunity to cultivate inner quietude, and shows how the desert quests of ancient monastics offer profound lessons for us about what it means to search for silence. Drawing on her own experiences making field recordings in the deserts of North America and Israel, she reveals how mountains, canyons, caves, rocky escarpments, and lush oases are deeply resonant places. Haines-Eitzen discusses how the desert is a place of paradoxes, both silent and noisy, pulling us toward contemplative isolation yet giving rise to vibrant collectives of fellow seekers. Accompanied by Haines-Eitzen’s evocative audio recordings of desert environments, Sonorous Desert reveals how desert sounds taught ancient monks about solitude, silence, and the life of community, and how they can help us understand ourselves if we slow down and listen.

Psalms of Sonorous is a book of free verse truth, magnified by Gods love. It was transcribed by the Holy Spirit through the faith of one believers heart and then poured out on paper for the glory of Jesus Christ of Nazareth, the Most High God. Love, worship, and obedience are words that describe the walk of faith. Within these pages, the reader will discover varying degrees of openness, self-reflection, and a fearless will to be closer and move forward to and in Christ. The author opens her heart as the reader opens the pages of Psalms of Sonorous, a collection of intimate interactions with the only living God, I Am. Walk along this literary path as you read a thinkers style of poetry and prose. The words of a believers heart pasted on the truth of Gods existing and everlasting cornerstone, Jesus Christ.

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

Sonorous Relics Theory (SRT) is a theory that seeks to explore and extract ancient sounds and human voices embedded within archaeological artifacts. Traditional archaeology has focused primarily on studying visual aspects, such as objects, structures, and inscriptions, to understand past civilizations. However, this theory proposes that artifacts, including musical instruments, pottery, and even everyday objects, may contain hidden sonic information waiting to be deciphered.

This study of the subtlety, complexity, and variety of modes of hearing maps out a “sonorous archipelago”—a heterogeneous set of shifting sonic territories shaped by the vicissitudes of desire and discourse. Profoundly intimate yet immediately giving onto distant spaces, both an “organ of fear” and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of “sound,” navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the “soundscape” and “reduced listening” demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound “itself,” nor an “ocean of sound” in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.

The first English language collection on the musical sublime. Reveals music's place at the forefront of this interdisciplinary aesthetic category.