By Simon Emmerson
Since the inception of electroacoustic track in 1948, a lot has been written approximately technical advancements. This booklet is without doubt one of the first to envision aesthetic matters critical to this quickly constructing style. It brings jointly composers from top educational departments and studios in Britain, the USA, Canada and Paris with quite a lot of ways and reviews, leading to a examine that's prone to have a marked impression on present debates at the way forward for electroacoustic song. The publication is split into 3 sections. the 1st, tradition and Language, considers the connection among track and the listener's belief and expectation. fabrics and Lanugage appears on the kinds of fabrics to be had to composers and how during which the inner constitution of the sound may have implications for the final constitution of a bit. the ultimate part, The impression of latest know-how, considers the connection among computers and the tune they're supporting to create.
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Extra resources for The Language of Electroacoustic Music
Sample text
Interest focuses on the subtle pulsed shifts in the harmonic spectrum. 23 RELATION OF LANGUAGE TO MATERIALS / 29 With the exception of the pipes' melody referred to, the origin of the materials is entirely and intentionally lost in a sound world of enormous subtlety and power. ' - first propounded by Pierre Schaeffer's Paris group in 1953. 25 Pentes was commissioned by the GRM and composed in its studios in 1974. Bernard Parmegiani's De Natura Sonorum (1974-5) is from the same era and studio. The work is in ten independent movements, which the composer has grouped into two series (with some variants in performance), each an 'etude' concentrating on one aspect of the sound-object or a principle of montage.
Our music represents models of elements that are very heterogeneous and seemingly unmatchable . . These are complementary societies and structures ... 37 Thus the motivation towards the material ('found music') lies with respect to its origins and associations, which the composer seeks to 'intermodulate', both literally - the superimposition of the rhythm of one on the timbre of another - and spiritually, into a 'world music'. B. Mimetic discourse: Combination of abstract and abstracted syntax.
This process determines the basic order of the 32 sections of the work. As all but prime numbers will produce coincidences in this scheme, the composer modifies the details to avoid these. The sections generated from the same harmonic are all assigned a specific duration derived from the Fibonacci series. Thus the function of the instrumental strokes is such that each instrument indicates the duration of the succeeding section. The composer also modifies the number of occurrences of each section type to fall on a Fibonacci series value.