MicrosoundBelow the level of the musical note lies the realm of microsound, of sound particles lasting less than one-tenth of a second. Recent technological advances allow us to probe and manipulate these pinpoints of sound, dissolving the traditional building blocks of music--notes and their intervals--into a more fluid and supple medium. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as particle density increases. Sounds coalesce, evaporate, and mutate into other sounds. Composers have used theories of microsound in computer music since the 1950s. Distinguished practitioners include Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased interest in computer and electronic music, many young composers and software synthesis developers are exploring its advantages. Covering all aspects of composition with sound particles, Microsound offers composition theory, historical accounts, technical overviews, acoustical experiments, descriptions of musical works, and aesthetic reflections. The book is accompanied by an audio CD of examples. |
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Seite 55 - Rhythm is perhaps the most primal of all things known to us. It is basic in poetry and music mutually, their melodies depending on a variation of tone quality and of pitch respectively, as is commonly said, but if we look more closely we will see that music is, by further analysis, pure rhythm; rhythm and nothing else, for the variation of pitch is the variation in rhythms of the individual notes, and harmony the blending of these varied rhythms.
Seite 329 - ... the present methods of writing music, principally those which employ harmony and its reference to particular steps in the field of sound, will be inadequate for the composer, who will be faced with the entire field of sound. The composer (organizer of sound) will be faced not only with the entire field of sound but also with the entire field of time. The "frame...
Seite 341 - The new geometry mirrors a universe that is rough, not rounded, scabrous, not smooth. It is a geometry of the pitted, pocked, and broken up, the twisted, tangled, and intertwined.
Seite 24 - When a person glimpses the face of a famous actor, sniffs a favorite food, or hears the voice oj a friend, recognition is instant. Within a fraction of a second after the eyes, nose, ears, tongue or skin is stimulated, one knows the object is familiar and whether it is desirable or dangerous. How does such recognition, which psychologists call preattentive perception, happen so accurately and quickly, even when the stimuli are complex and the context in which they arise varies?
Seite 250 - The knowledge of the position of a particle is complementary to the knowledge of its velocity or momentum. If we know the one with high accuracy we cannot know the other with high accuracy; still we must know both for determining the behavior of the system.
Seite 238 - ... this theorem is beyond reproach, even experts could not at times conceal an uneasy feeling when it came to the physical interpretation of results obtained by the Fourier method. After having for the first time obtained the spectrum of a frequency-modulated sine wave, Carson wrote [see page 328]: "The foregoing solutions, though unquestionably mathematically correct, are somewhat difficult to reconcile with our physical intuitions, and our physical concepts of such 'variable-frequency' mechanisms...
Seite 13 - Cage, was that where people had felt the necessity to stick sounds together to make a continuity, Cage and his friends felt the opposite necessity to get rid of the glue so that sounds would be themselves.
Seite 6 - Sound is an alteration in pressure, particle displacement, or particle velocity propagated in an elastic material, or the superposition of such propagation alterations. (b) Sound is also the sensation produced through the ear by the alterations described above. Note — In case of possible confusion the term "Sound Wave" may be used for concept (a), and the term "Sound Sensation
Seite 56 - ... from another angle. Assume that we have two melodies moving parallel to each other, the first written in whole notes, and the second in half-notes. If the time for each note were to be indicated by the tapping of a stick, the taps for the second melody would recur with double the rapidity of those for the first. If now the taps were to be increased greatly in rapidity without changing the relative speed, it will be seen that when the taps for the first melody reach sixteen to the second, those...
Seite 86 - ... music?" It is a question I am only too familiar with. Until quite recently I used to hear it so often in regard to my own works that, as far back as the twenties, I decided to call my music "organized sound" and myself, not a musician, but "a worker in rhythms, frequencies, and intensities.
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Bibliografische Informationen
| Titel | Microsound The MIT Press |
| Autor/in | Curtis Roads |
| Ausgabe | illustriert, Neuauflage |
| Verlag | MIT Press, 2004 |
| ISBN | 0262681544, 9780262681544 |
| Länge | 409 Seiten |
| Zitat exportieren | BiBTeX EndNote RefMan |