A Poetry of Reality: Composing with Recorded Sound by Norman

By Norman

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 supposing computing device song composition is easily represented, there's a awake try to develop the sector to incorporate different song during which recorded sound, and the recording technique itself, has an important position. The publication makes a speciality of the method of listening in way of life that is of elemental significance to the reception and composition of real-world song. A compact disc containing some of the musical examples featured is integrated with the textual content.

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Instead, it presents fragmentary or restructured images that, while retaining allusions to their real-world ‘being’, are decontextualised from the normal course of events; and each are more concerned with experience than fact. Real-world music, perhaps, has a slight edge on film here since—in less time than it takes to sing a g-sharp—reality can be transformed through musical abstraction. Partial representations are abetted by the fact that, in addition to the vagaries of obscured recorded images, we may contend with the emotional ‘disruption’ of overtly musical contours.

I also collected a few other sonic snapshots: a short cello note, bangings from wood chimes and metal chimes, a fast arpeggio gesture played on the piano, short sequences of tropical and equatorial birds songs from a recording found in Singapore. Some of the 9 I used this transformation in Invisibles—see discussion later in this paper. 38 JEAN-CLAUDE RISSET above soundscapes appear in the piece with only minor modifications or no modification at all, for instance the sea at the beginning, or the insect sounds at the end of the first movement.

This structure can be heard clearly in the instrumental passages, but it is also imprinted, for instance, within plane sounds as well as within certain gong-like sounds. A priori, there seems to be no point replicating a gong sound by synthesis. However, I could compose a pseudo-gong sound just like a chord, with a prescribed harmonic content, a content which cannot be controlled in a “real” gong. Thanks to the flexibility of computer synthesis, I could thus produce stylized imitations of instruments or other sounds—planes, sirens, engine noises—while endowing them with some unreal quality (and also some tight, organic relation with the musical structures performed by the singer and the instrumentalists in the non-computer sections).

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