.
.
| A
real-time multimedia composition layer |
| /portal.acm.org
| "We introduce a light-weight multimedia composition layer which
is situated on top of existing music, sound, and graphics frameworks and
libraries. The layer provides applications with a programming interface
for multimedia composition, automating real-time media processing and synchronisation"
| |
..
.
..
| Soundscape
Composition at SFU |
| .sfu.ca/~truax
| "Both techniques are used at the opening of my soundscape composition,
.... Composing with time-shifted environmental sound. Leonardo Music Journal,
2(1" | |
.
| Wall
of Sound - Wikipedia, the free encyclopedia |
| en.wikipedia.org/wiki/Wall_of_Sound
| "The Wall of Sound is a music production technique for pop and
rock music .... but underneath the layers of guitars is generally a strong
sense of melody" | |
.
.
| Timbral
Composition and Gesture |
| meowing.memh.uc.edu/~mara
| "ABSTRACT: A stochastic granular synthesis instrument shaped the
use of timbre in the composition, "Dragon of the Nebula". The changing
grain parameters within each event create timbral gestures, which make
up the musical phrases. These gestures may be represented in a two-dimensional
graph. The perception of these gestures and the relationship to the performance
situation will be discussed. " | |
.
| A
MutaSynth in Parameter Space: Interactive Composition Through Evolution |
"Abstract
In
this vision paper I will discuss a few questions concerning the use of
generative processes in composition and
automatic
music creation. Why do I do it, and does it really work? I discuss the
problems involved, focusing on
the
use of interactivity, and describe the use of interactive evolution as
a way of introducing interactivity in
composition.
The installation MutaSynth is presented as an implementation of this idea"
| |
.
| Elements
of Music - Part Five |
| Functional
harmony | Dynamics | Timbre |
Instruments | Fundamental Level of Music Making: Meter, Tempo,
Rhythm, Melody, Harmony, Dynamics, Timbre, Instrument(s) |
Mid-Level Music Making: Three Foundational Procedures: Repetition, Variation,
Contrast | Basic Patterns of Repetition, Variation, and Contrast
| |
.
| Towards
a Holophonic Musical Texture |
| "definition,
describing musical texture as determined by how many layers of sound .
there are in the composition and what the relationships of those sounds
to ..." | |
.
| Compositional
Processes from an Ecological Perspective |
| Damián
Keller | Abstract: The author discusses the conceptual basis
of an ecological approach to music composition, considering the epistemological
and compositional concepts involved. The author's text-and-tape piece,
touch'n'go/toco y me voy, is presented as an example of an ecologically
based musical work, in which the sound event functions as the basic unit
of multilevel musical structures. Digital resynthesis techniques are integrated
in the compositional process by means of environmental sound models. Ecological
models establish formal relationships without obscuring the recognizability
of everyday sounds. Materials, techniques, perceptual constraints and references
to social issues are integrated in a consistent compositional method. |
.
.
..
.
|
|
.
