This quantity is anxious with questions bobbing up from the compositional use of recorded real-world sound and is intentionally eclectic in either process and material. even supposing computing device tune composition is definitely represented, there's a unsleeping try to develop the sector to incorporate different song during which recorded sound, and the recording method itself, has an important position. The ebook makes a speciality of the method of listening in daily life that is of elemental value to the reception and composition of real-world song. A compact disc containing a number of the musical examples featured is integrated with the textual content.
Read or Download A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series) PDF
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Additional info for A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series)
One can thus manufacture synthetic sounds that are in some sense more “real” than the real ones. Such considerations plead for the so-called “physical model” approach to synthesis, which simulates the process of sound production rather than merely trying to duplicate the resulting signal. With the physical model approach, one is likely to synthesize sounds with a more pregnant identity, since the sounds are produced within constraints that mimic the acoustic constraints, those to which our auditory system is tuned.
One can induce more vivid sensations by introducing cues similar to those the ear resorts to with acoustic sounds to appreciate the energy at the source, its distance and the effort put into the production of the sound. We have only two sensitive and precious ears: to suggest strength, energy and loudness, we should know better than deafening listeners with decibels. In my synthesis work, I have taken such considerations into account in order to animate sounds. I have carved and transformed sound in special ways to obtain specific morphologies.
This does not necessarily means that one should stick to acoustic reality, but that one should take into account the ways hearing interprets sounds in terms of acoustic production in the real world. 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.