This quantity is worried with questions bobbing up from the compositional use of recorded real-world sound and is intentionally eclectic in either procedure and subject material. even though laptop track composition is definitely represented, there's a wide awake try to expand the sector to incorporate different song within which recorded sound, and the recording technique itself, has an important function. The publication specializes in the method of listening in way of 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 resources for A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series)
Apparently one can hardly speak in this case of the poetry of reality. Yet synthetic sounds are real: they can be heard. A virtual world of sound is one which has the virtue to suggest a different reality, an immaterial, illusory world, often invisible, anchored in our perception rather than in our environment. Moreover synthetic sounds can evoke elements of our familiar physical world: our perception has a strong tendency to assimilate the unknown to the familiar1. 1 We often try to interpret sensory signals in terms of likely causes in our environment.
Saxatile, for soprano saxophone, places a live performer, coming from the organic realm, against a mineral world of sounds (saxatile means leaving among the rocks). I have also taken advantage of the denotation and connotation of a particular object evoked by its sound, letting the identity of the sound come through—or its make believe identity: for programmatic purposes (Little Boy), for games of identity (L’autre face, Passages) or to invoke the poetry of reality (Sud, Invisibles). Little Boy and its theatrical scenario Computer Suite from Little Boy, completed in 1968, was my first significant computer piece.
This occured in accordance with the suggestions of the theatrical plot. The Suite attempts to roughly sum-up the movement of the play; it comprises three parts. The first section, Flight and Countdown, follows the pilot’s dream, which takes him through a musically stylized plane flight, with episodes of synthetic jazz and japanese-like tunes. The flight is terminated by a count-down preceding the release of the bomb. 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.
A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series) by Norman