'Sounding Art is a sort of travel guide to listening - and, according to Katharine Norman listening (really listening) is the key to fully appreciating the emerging world of Sonic Art. The form of her book perfectly mirrors the playful, profound and often accidental nature of our individual sonic journeys. Sounding Art is a significant contribution to our understanding of sound in contemporary culture and should be required reading for students and practitioners in fields as diverse as Music, Architecture, Media, Sociology and Film.'
Andrew Deakin, sonic artist and former course leader of the BA and MA Sonic Arts at Middlesex University, UK.

'... the gift of this book is that it encourages you to enter a world of sound and music that might otherwise be difficult, off-putting, alien or dry as dust. Here the reader is invited to listen to and explore, in a fresh and inviting way, sound sculptures, evocative soundscapes, new music and the world around us... The writing seems to transcend the conventional academic field and, with its literary feel, turns into an artistic piece in its own right.' Music & Psyche

'... wonderful, a book that is as rich with ideas as the music that she describes... There is plenty of evidence of the fun she has clearly had in experimenting with different typefaces and layouts. This approach to presenting the book as a piece of graphic art, as a way of illustrating the compositional approaches that she is writing about, I found highly effective... This is a magnificent book, recommended to anyone with an interest in modern music.' Soundscape

‘The inclusion of examples of the music [Katharine Norman] discusses gives this volume even more depth and breadth, making it an excellent choice for newcomers to electroacoustic music…this is indeed an excellent book…’ eContact, the electronic journal of the Canadian electroacoustic community

'Katharine Norman has discovered that the most cogent and vivid way to render the sense of unusual original compositions in words is - unusual original compositions in words. Her texts create striking analogues of the expressive worlds of the musics she describes, each verbal episode is as distinct in style, structure and substance as are the musical issues which it addresses. Through her writing we get animated access to all of a very wide range of contemporary musics within an expressive landscape which might be described as the worlds which they normalize and inhabit as normal - rather than as, familiarly, being reductively conventionalized. So we get a lot to hear in sound language and word language; most of all, the varicolored sounds of Katharine Norman’s expressive voice, singing of music she knows how to love.'
Benjamin Boretz, Professor Emeritus of Music and Integrated Arts, Bard College, USA