Now showing items 1-10 of 15
Reflections on sound image design in electroacoustic music
(Cambridge University Press, 2007-04-01)
Lieu-temps [Of time and place] (2007) (Ricordiamo Forlì, 2005 - 53'30", Arrivederci, 2005 - 15'40") DVD-A (digital audio media), Empreintes digitales iMED0787, Montréal, 2007
(Empreintes Digitales, Montréal, 2007-12-01)
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 ...
Half-heard sounds in the summer air: Electroacoustic music in Wellington and the South Island of New Zealand.
(Cambridge University Press, 2001-04)
This article traces the evolution of electroacoustic music in Wellington and the South Island of New Zealand. Electroacoustic music has a well-established tradition in New Zealand, dating back to Douglas Lilburn’s pioneering ...
Inventing memory: Documentary and imagination in acousmatic music.
(Middlesex University Press, 2008)
The potential for sound recording to act as a surrogate for memory is evaluated in terms of its use in the composition of acousmatic music. Adapted from the writing of Walter Benjamin, sound recording of real-life events ...
Tongue (2001, 13'47) electroacoustic composition
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 ...
Practice, process and aesthetic reflection in Electroacoustic Music.
(Cambridge University Press, 2007-04)
This is an editorial article introducting ideas around the relationship between practice and the emerging theory of electroacoustic music.
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 ...