This volume is concerned with questions arising from the compositional use of recorded real-world sound and is deliberately eclectic in both approach and subject matter. Although computer music composition is well represented, there is a conscious attempt to broaden the field to include other music in which recorded sound, and the recording process itself, has a significant role. The book focuses on the process of listening in everyday life which is of elemental importance to the reception and composition of real-world music. A compact disc containing many of the musical examples featured is included with the text.
Author(s): Norman
Edition: Pap/Com
Year: 1997
Language: English
Pages: 192
Book Cover......Page 1
Title......Page 2
Copyright......Page 3
Dedication......Page 5
Contents......Page 6
Preface......Page 7
Introduction......Page 10
Referential listening......Page 11
Some musical examples......Page 13
Reflective listening......Page 15
Contextual listening......Page 18
Participating......Page 19
Listening Montage in Real-World Music......Page 20
Confusion of intent......Page 21
Noise as interference......Page 22
Transforming the being of the sound......Page 24
Listening montage as rediscovery......Page 27
Imaginative Journeys......Page 28
A departure from realism......Page 29
Emotional recognition......Page 30
Partial representation......Page 32
Poetic Metaphors......Page 33
Discography......Page 36
Real World and Real Sounds......Page 38
Sound synthesis and acoustic reality......Page 39
Metaphors of Reality......Page 43
Acoustic Instruments and Synthesis: Passages......Page 45
Succcessive steps of the composition of Sud......Page 46
Invisibles......Page 51
Reality In Us and Around Us......Page 53
References......Page 54
Discography......Page 55
Introduction......Page 58
The Musical Use of Environmental Sound: A Dilemma......Page 60
The WSP and the Soundscape Composition......Page 62
Acoustic Communication......Page 66
Composing through Environmental Sound......Page 68
References......Page 71
Musical Storytelling......Page 74
Discography......Page 78
Introduction......Page 80
Listening and Signification......Page 81
Sources and Causes......Page 82
Source Recognition and Reality......Page 83
Ambiguity and Abstraction......Page 85
Metaphor and symbol in Red Bird......Page 86
Transformations in Red Bird......Page 88
The Reality—Abstraction Continuum......Page 90
Sound diffusion......Page 96
Conclusion......Page 97
References......Page 98
Discography......Page 99
Some Light-Hearted Explanations......Page 100
Unapplied Repetition......Page 101
Diffuse Narration......Page 104
Selected Discography......Page 107
1......Page 108
2......Page 109
4......Page 110
5......Page 111
6......Page 112
References......Page 114
Introduction: Zappa and Dada......Page 116
Multitrack tape recording......Page 119
Recording as sacrifice of innocence......Page 120
Recording as documentary......Page 122
Zappa, Cage, Zen......Page 125
Looking at everyday life......Page 127
Foregrounding human labour......Page 128
Repetition as death......Page 131
“Straight” state-of-the-art recording......Page 132
Multitrack mixing as a form of musique concrète......Page 133
The voice of the oppressed......Page 134
Zappa and modern art......Page 136
Rock versus classical......Page 137
Musical abstraction and social strata......Page 138
Xenochrony......Page 139
Close-miking......Page 140
Musicians and machines......Page 141
Conclusion: Zappa and postmodernism......Page 142
References......Page 143
Discography of Zappa recordings referred to......Page 144
Autonomy, Mimesis and Mechanical Reproduction in Contemporary Music......Page 146
Material and Technique......Page 149
Expanding Mimesis......Page 151
Technology and the Musical Work: From Reproduction to Transformation......Page 154
References......Page 156
Music in the Chords of Eternity......Page 158
Music—Token of the Imagination......Page 162
Noise—Token of Things......Page 164
“Their noise be our instruction”7: Compositions with Real-World Sounds......Page 168
Quakerbridge—Paul Lansky (signal processed environmental recordings)......Page 173
Greek Nickel pieces—J.K.Randall......Page 175
Hush…......Page 176
References......Page 177
Discography......Page 178
RISSET:......Page 180
TRUAX:......Page 182
RIDDELL:......Page 183
NOTES FOR CONTRIBUTORS......Page 186
Index......Page 188
