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By Norman

This quantity is worried with questions coming up from the compositional use of recorded real-world sound and is intentionally eclectic in either process and material. even supposing machine tune composition is definitely represented, there's a wakeful try to increase the sector to incorporate different tune during which recorded sound, and the recording strategy itself, has an important position. The publication specializes in the method of listening in lifestyle that is of elemental value to the reception and composition of real-world tune. A compact disc containing a number of the musical examples featured is integrated with the textual content.

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

Example text

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. When I came close to producing a proper computer imitation of a trumpet tone, I could make the simulated tone rougher or less regular than the original: then listeners, asked which of the two tones was synthetic, tended to guess wrong at a better than chance level.

I have carved and transformed sound in special ways to obtain specific morphologies. In certain cases, I worked at contriving the sound parameters so as to suggest paradoxical sound behaviors or acoustic illusions; for instance in creating a succession of tones which seem to go up in pitch but which end lower than they started; where the beat rate seems to constantly slow down yet is much faster thirty seconds later; and which seem to rotate in space (Risset, 1989). The listener quickly becomes familiar with the REALWORLD SOUNDS AND SIMULACRA IN MY COMPUTER MUSIC 33 morphology of such sounds, surprising as they may sound at first.

There is an effect of tension—this paradoxical situation seems logically impossible—stemming from this divergence between physical and phenomenal reality. I have tried to synthesize a lively world of sounds, distinct from the acoustic world—the world of real objects—and to control synthesis so that these two worlds can occasionally merge as well as diverge and contrast. I shall now discuss this with regard to specific examples. Of course, other composers had similar concerns; I shall just mention a few here.

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