Now showing items 11-20 of 21
(Empreintes Digitales, Montréal, 1997)
Virtual attempts to convey the idea of an illusory soundscape set in vibrant motion by the wind — an invisible and capricious source of energy for the ‘virtual’ objects in the space, the exact nature of which we are left ...
(Empreintes Digitales, 1996)
Inner extends out of the sound and sensation of human breath — from a visceral and magnified perspective. The starting point was concentrated listening to some straightforward electroacoustic transformations of breath ...
(Premiered Tempo Reale Festival, Florence, 29 September 2015., 2015)
Brink attempts to convey a form characterised by continuous sonic renewal and evolution. I like to think of sound as physical matter and, by blending parallel processes of transformation and recurrence, this work aims to ...
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.
(Empreintes Digitales, 1998)
This work is an exploration of the sound-image of rain. In many ways, I felt the process of composing this piece to be one of revealing and expanding the myriad patterns and colors within the sound, normally noticeable ...
Annotated catalogue of Denis Smalley's works.
(Institut National de l'Audiovisuel, 2010)
An annotated list of the works of Denis Smalley is presented. Each work is given an analytical summary, supplemented by the composer's own notes on the work along with dates of composition, the place and date of first ...
(First performed at the New Walk Museum, Leicester, 12 April 2015, by Carla Rees (alto flute), Heather Roche (clarinet/bass clarinet), Xenia Pestova (piano) and John Young (sound projection)., 2015)
Sir Thomas Armstrong, a former principal of the Royal Academy of Music and a veteran of the First World War, once stated that there is a falsity about the reporting of all battle scenes. In the face of the most shatteringly ...
Formación de la forma [Forming Form]
(Universidad Nacional de Lanús, 2010)
The seemingly 'infinite' range of sound types available in electroacoustic music creates new questions and opportunities for the design of musical forms. Form is regarded here as a the principle by which sound identities, ...
(Empreintes Digitales, Montréal, 2001)
In electroacoustic music the loudspeaker can be thought of as a ‘veil’ isolating our experience of sound from other senses. This allows for a heightened appreciation of the aural dimension and creates a new listening context ...
Sound morphology and the articulation of structure in electroacoustic music.
(Cambridge University Press, 2004-04)
In electroacoustic music we have the capacity to manipulate sound in an unprecedented number of dimensions - especially to transform, disassemble and remix both natural and digitally created sound-objects over time. This ...