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

By Norman

This quantity is worried with questions bobbing up from the compositional use of recorded real-world sound and is intentionally eclectic in either strategy and subject material. even if laptop tune composition is easily represented, there's a wide awake try and increase the sector to incorporate different song within which recorded sound, and the recording technique itself, has an important function. The booklet specializes in the method of listening in daily life that's of elemental value to the reception and composition of real-world song. A compact disc containing the various musical examples featured is incorporated 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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In order to achieve this, these mechanisms take into account certain REALWORLD SOUNDS AND SIMULACRA IN MY COMPUTER MUSIC 31 physical regularities of the world, which perception has learned through the process of natural selection during the evolution of the species. Quite a few of the schemes for our perceptual organization are now recognized to be in our genes, rather than learned through our early childhood2. The elaboration of such schemes developed over more than a million years, and it took place in a world where almost all sounds were produced acoustically.

The ductility inherent to synthesis allowed me to mutate certain sounds into others, to suggest the shattering of the world in a shaken mind. Thus, in the contra-apotheosis, the jazz band gets mixed up and ends as a gun-like beat; the Japanese instruments turn into sirens; a pandemonium of sounds builds up above an endless rotating glissando, to be quieted down and dissolved into memories. Acoustic Instruments and Synthesis: Passages In a number of my pieces, I merged the world of acoustic instruments and the world of synthetic sounds.

Commissioned by Biennale di Venezia (Laboratorio d’Informatica Musicale). REALWORLD SOUNDS AND SIMULACRA IN MY COMPUTER MUSIC 37 Sud My piece Sud can be termed hybrid and naturalistic: it invokes the poetry of reality. It opens with environmental soundscapes—sound photographs of a natural scene—followed by quite different sounds obtained via synthesis. In the course of the piece, the two worlds of sound—natural and artificial—will gradually merge together through transformations and hybridations.

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