Compositional Metaphors of Space and Perspective
This dissertation documents my use of the metaphors of space and perspective in two musical works: IN for bass drum and live electronics, and Headspaces for cello and live electronics. Both works involve live performers with real-time signal processing and eight channel sound spatialization enabled through the music software, programming environment Max/MSP. An introductory essay that outlines my methods in employing these metaphors is included as a preface to the works that follow the essay in the form of musical scores.
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activates envelope active by cellist's AES/EBU Auditory Auditory Scene Analysis bass drum brush buffer cellist's pedal cello and live cello harmonic Christopher Tonkin computer sound processing contact microphone critical listening deactivates envelope follower delay Denis Smalley detuned distortion drum and live drum surface eight channel soundfile eight loudspeakers electroacoustic ff overpressure fingerboard follower for ff follower was previously frequency gestures gettato glissandi Headspaces headspaces-8-cello hidden space human voice live electronics Max/MSP Max/MSP patch Metaphors of Space midi device Miller Puckette minimalist music module Events muted noteheads PERFORMANCE NOTES performance space piece pitch previously made active pull down menu real-time reference point rehearsal letter relationship reset button Roger Reynolds score seconds sinusoids Smalley sound materials spatial stereo soundfile Steven Schick stochastic string superball Takasugi time-stretched copies total sound environment triggers a sample triggers a stereo trunc Varese visual