Binaural recordings : Bioacoustics : Aural Perception : Sensory movements


Felicity Mangan is an Australian sound artist and composer based in Berlin, Germany.  In different situations such as solo performances and collaborative projects, Felicity samples and plays her field recordings and found sounds to create quasi-bioacoustic music.

Felicity has released several solo publications, one on Longform Editions titled Stereo’frog’ic, a play on the word stereophonic –  presenting a sound piece, crafted from found recordings of frogs, insects and other ‘vocal’ animals wavering about in a stereo field. As well as Creepy Crawly (Mappa Editions) and Bell Metal Reeds (One Instrument). More recently Wet on Wet (Klangklamm/Warm Winters Ltd.), Train Tracks Recorded and Editing by Felicity Mangan (Possible Motive) and a single Körner Park (Care of Editions). As well as a former duo project release with Stine Janvin Native Instrument - Camo (Shelter Press). Felicity has presented projects in many different settings including Technosphärenklänge CTM/HKW, Sonic Act Academy and Sound design for 100 Climate Conversation for the Power House Museum, Sydney, Australia.

Each month, Nonsequitur and a community of like-minded organizations and artists present ten concerts of adventurous and experimental music in the Chapel Performance Space at the Good Shepherd Center in Seattle: contemporary/post-classical composition, free improvisation and the outer limits of jazz, electronic/electroacoustic music, new instruments, phonography, sound art, and other innovative musics.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

The sonologist moves in the field of electroacoustic music, computer music and sound art. Instead of composing ‘with’ sounds, as is generally the case in instrumental music, in sonology the sound itself is composed in such a way that it gives expression to musical form. This can take place on the basis of the physical principles of sound, on the basis of perception or on the basis of purely compositional ideas.

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