Download A Poetry of Reality: Composing with Recorded Sound by Norman PDF

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 procedure and subject material. even though computing device song composition is easily represented, there's a awake try and expand the sector to incorporate different track during which recorded sound, and the recording approach itself, has an important function. The ebook makes a speciality of the method of listening in daily life that's of elemental significance to the reception and composition of real-world song. A compact disc containing some of the musical examples featured is integrated with the textual content.

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

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Filtering. I extensively resorted to filters implemented by Mailliard. I used about 25 resonant filters tuned to the steps of the minor-major scale. Their impulse response increases when the bandwidth narrows.

However he could not stand the “dead, embalmed” quality of simplistic synthetic tones. 32 JEAN-CLAUDE RISSET The easy way to confer a strong identity to synthetic sounds is to specify them in such a way that the listener can attribute a specific mechanical causality to them. For instance, Mathews and his collaborators added an exaggerated frequency modulation at the onset of their synthetic copies of violins tones: this made the tones appear very realistic, since they strongly suggested the clumsiness of a beginner unable to hide his bow scratches.

It certainly does not measure physical parameters, as I showed in two demonstrations: a tone can appear to go down in pitch when its frequencies are doubled; and a pattern of beats can appear to slow down when one doubles the speed of the tape recorder on which it is played (Risset, 1986). Here the relations between sounds are not the same in the heard phenomenological reality and in the physical reality In so far as music is meant to be heard, what counts is the relations we hear, not the relations we stipulate between physical parameters which our ear does not measure and appreciate directly.

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