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 strategy and material. even supposing laptop song composition is definitely represented, there's a wakeful try and increase the sphere to incorporate different tune within which recorded sound, and the recording method itself, has an important position. The booklet specializes in the method of listening in daily life that's of elemental significance to the reception and composition of real-world tune. A compact disc containing a few of the musical examples featured is incorporated with the textual content.

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

Example text

A ‘highly emotional narrative’ doesn’t require that we lose our hold on the facts, rather it encourages our recognition of them to be ‘coloured’ by emotions. Perhaps an appreciation of real things can be changed or filtered precisely because recognition involves both emotional and intellectual responses, and we may be directed towards one response, without entirely abandoning the other. Partial representation Through an appeal to emotional recognition, then, we may be distracted from our normal perceptions.

I worked on these illusions to produce certain dramatic effects in line with the plot—a fantasmatic reliving of the Hiroshima raid. I also used the harmonic cell—G sharp, D, G natural, E, B, A sharp—as the root of melodic textures, such as the “spectral analyses of chords” heard several times in the piece, in particular at the beginning and just before the end. These textures are “clouds” of harmonics of the component pitches, which appear above the specified chord structure in regular or irregular order.

Although they were not generated in real-time, these synthetic sounds were conceived as gestures. For instance, I have specified ample arpeggioes in terms of curves abstracted from wave contours and quantified to the steps of the major-minor scale. I also generated tones which which appear to fly in space like birds: sine waves modulated in frequency by complex, supple, almost visible contours. Next I modified and proliferated my original sounds—most recorded, some synthetic—by submitting them to the transformations implemented by Mailliard in studio 123 at GRM.

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