This quantity is worried with questions bobbing up from the compositional use of recorded real-world sound and is intentionally eclectic in either method and material. even supposing computing device tune composition is definitely represented, there's a unsleeping try and expand the sphere to incorporate different tune within which recorded sound, and the recording strategy itself, has an important function. The publication makes a speciality of the method of listening in way of life that's of elemental value 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)
The same images return repeatedly and, each time, nothing has changed. As an almost superfluous confirmation, the word ‘waiting’ briefly appears on the screen. An emotional recognition is almost inevitable with such evocative images whose temporally obscured representations transmit far more than the sum of their individual parts. In similarly eschewing ‘realism’ or ‘plot’ it seems no accident that real-world music frequently uses signal processing in a manner which, literally, obscures the recorded source.
The following section is the Fall. The pilot thinks that Little Boy, the bomb with which he identifies in his inf antile regression, is falling—in fact a psychological collapse takes place that never reaches any bottom. The last part is called ContraApotheosis, like the anti-climactic end of the play. Here various time fragments are recalled or evoked in a deliberately desintegrated way, as the obsessions of the central character and his entire world mentally rotate. Although the music is meant to accompany a specific action and includes sounds that seem to come from the real world, certain cues in the sounds or in the music indicate that the action is in a man’s 36 JEAN-CLAUDE RISSET mind.
A revealing example is the point John Chowning makes strongly about loudness: one tends to consider the amplitude of the wave as the physical correlate of loudness. However the amplitude of the sound which reaches the ear depends upon the distance as well as the energy of the source. When we listen to the radio, we know whether speakers speak loudly or softly or whether an orchestra plays pp or ff, regardless of the setting of the volume dial. Our ear resorts to fine cues to appreciate our distance from the sound source as well as the energy of the production of sound.
A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series) by Norman