Now showing items 21-30 of 33
(Musiques et recherches, Brussels; MIT Press, Cambridge, MA, 2009)
This work investigates the projection of narrative in acousmatic music through the integration of a minimal amount of spoken text and digitally processed real world sounds. Within that frame a further imperative is evocation ...
(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 ...
The extended environment.
(International Computer Music Association, 1994)
The potential in electroacoustic music to amalgamate sounds of natural real-world sources with the powerful signal processing and synthesis offered by computers makes possible interplay between different levels of sonic ...
(Accademia Musicale Pescarese, 1999)
An electroacoustic composition based on digital transformation of a variably pronounced Swedish word.
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 ...
(First performed Espace du Son Festival, Théâtre Marni, Brussels, 21 November 2013., 2013)
The title of this work is derived from an E. E. Cummings poem—evoking imagery of twilight as a vast spatial canvas for birdsong and a zone of spiritual reflection. In the work I wanted to create the sense of intimate ...
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, ...
A practice-based approach to using acoustics and technology in musicianship training.
(International Computer Music Association, 2007)
Digital audio tools can be used to facilitate many aspects of traditional note-based music making, but one of the challenges they present is also found in their potential to open up new opportunities for the shaping and ...
(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 ...