A Poetry of Reality: Composing with Recorded Sound by Norman

By Norman

This quantity is anxious with questions bobbing up from the compositional use of recorded real-world sound and is intentionally eclectic in either process and material. even if laptop track composition is definitely represented, there's a unsleeping try and increase the sphere to incorporate different track within which recorded sound, and the recording strategy itself, has an important position. The booklet makes a speciality of the method of listening in lifestyle that is of elemental value to the reception and composition of real-world tune. A compact disc containing the various musical examples featured is integrated with the textual content.

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Additional resources for A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series)

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1987) Remembering. A Phenomenological Study, Bloomington: Indiana University Press Collins, N. liner notes to Alvin Lucier I am sitting in a Room, Lovely Music LCD 1013 1990 Cott, J. (1973) Stockhausen. Conversations with the Composer, New York: Simon and Schuster Eisenstein, S. (1970) Notes of a Film Director, New York: Dover ———(1986) The Film Sense, trans. S.. (1959) Burnt Norton. Four Quartets, London: Faber and Faber (first published 1944) Gleick, J. (1987) Chaos, London: Sphere (Macmillan) Harvey, J.

I was curious to submit non-periodic sounds to phasing. One can change the frequency of digitized sounds by properly interpolating between the samples. I applied the process to sea roars recorded during a day of mistral—a heavy sound with a wide spectrum. The result came to me as a surprise: added to the sea sounds was a powerful downward glissando, starting shrill and widening in spectrum until it finally got lost into low depths, not to reappear again. The explanation is not as simple as with periodic tones: the rate of descent could be predicted as a function of the frequency difference as in the periodic case, but several scientists I asked were puzzled by the result.

Taking advantage of the flexibility of computer synthesis, I introduced a process which played a substantial role in my computer music: the inharmonic structuring of timbre. Synthesis permits one to compose the sounds themselves, just as one composes a chord: composing spectra helps to give them a functional role and not merely a coloristic one. The germinal cell of the piece is a harmonic structure—from bottom to top: G sharp, D, G natural, E, B, A sharp. This structure can be heard clearly in the instrumental passages, but it is also imprinted, for instance, within plane sounds as well as within certain gong-like sounds.

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A Poetry of Reality: Composing with Recorded Sound by Norman
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