Now showing items 1-6 of 6
Victoria University of Wellington Electroacoustic Music Studios [Studio Report]
(International Computer Music Association, 2000)
An outline of the origins of the Victoria University [of Wellington] Electroacoustic Music Studios is given, especially in relation to continued emphasis on the use of environmental sound sources. Descriptions of current ...
The interaction of sound identities in electroacoustic music.
Electroacoustic music technology allows for the creation of distinctive ‘hybrid’ interactions between sounds, since features defining the identity of one sound object (such as dynamic profile or spectral envelope) can be ...
Sju ... Who?
(De Montfort University, 2001)
This paper presents a discussion of the motivations and techniques used in the author’s electroacoustic work Sju. The piece is based on digital recordings of a Swedish word that, in daily Swedish, is pronounced in two ...
(Musiques et recherches, Brussels; MIT Press, Cambridge, MA, 2009)
This work investigates the projection of narrative in acousmatic music through the integration of a minimal amount of spoken text and digitally processed real world sounds. Within that frame a further imperative is evocation ...
A practice-based approach to using acoustics and technology in musicianship training.
(International Computer Music Association, 2007)
Digital audio tools can be used to facilitate many aspects of traditional note-based music making, but one of the challenges they present is also found in their potential to open up new opportunities for the shaping and ...
Sound in structure: Applying spectromorphological concepts.
(Electroacoustic Music Studies Network, 2005)
This paper departs from critical discussion of the concepts and terminology used by Denis Smalley to outline the ‘spectromorphological’ approach to the listening process. It then seeks to elaborate and apply salient aspects ...