Use of this recording is restricted to the UNT Community. Off-campus users must log in to listen.
Description
This composition continues the development of a musical language based on the color of unusual acoustic sounds. In this case the predominant use of inharmonic timbres (metal, multiphonics and a non-octave tuning system), creates the language that our musical traditions has for the most part ignored. A series of sections or "windows" based on specific sound sources has the listener "caught" by their interactions. Overall structural integrity is maintained by the reuse of similar gestures, colors and tuning system. The composition was created entirely through digital recording and mixing of acoustic sounds and no electronic effects or processing was used. …
continued below
We've identified this
sound
as a primary source within our collections. Researchers, educators, and students may find this recording useful in their work.
Provided By
UNT Music Library
The UNT Music Library supports the scholarly and performance research needs of the College of Music by collecting and preserving monographs, reference works, periodicals, printed music, and sound recording formats, as well as subscribing to electronic databases for research and streaming music. Special collections are a particular strength of the Music Library's holdings.
This composition continues the development of a musical language based on the color of unusual acoustic sounds. In this case the predominant use of inharmonic timbres (metal, multiphonics and a non-octave tuning system), creates the language that our musical traditions has for the most part ignored. A series of sections or "windows" based on specific sound sources has the listener "caught" by their interactions. Overall structural integrity is maintained by the reuse of similar gestures, colors and tuning system. The composition was created entirely through digital recording and mixing of acoustic sounds and no electronic effects or processing was used. This working method combined with the compositional decisions produces a pure, untranslatable, and sensuous immediacy to the music. This immediacy is partly created by the recording techniques which accents the presence of the performer behind each instrument. Therefore the piece continues the composers' polemic against the increasing depersonalization of music made by electronic synthesis. By capturing the irrationality and irregularities of human performance this composition suggests an alternative way of allowing the human presence to be perceived through the vastness of the technology used to create such a composition. In this sense the deadening skin of sound habituation is peeled away to reveal a vivid, unaccustomed sound world of timbres, rhythms and melodies. This world could never be performed by a live ensemble because of the physical problems of instrument placement and amplitude differences and general performability problems because of rhythm and tuning. The composition was commissioned by CKLN radio in Toronto, with assistance from the Ontario Arts Council.
This recording is part of the following collection of related materials.
Mnemothèque Internationale des Arts Electroacoustiques
Sound recordings of electroacoustic music from the archive of the International de musique électroacoustique de Bourges (IMEB). The works were created in the IMEB studios or submitted by participants of the Festival Synthèse or the Bourges Electroacoustic Music Competition. Access is restricted to the UNT community.