Ear as Instrument.
The desire for instrumental qualities in computer music often leads the artist to a process of "synthetic limitation," wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possi...
| Publicado en: | Leonardo Music Journal Vol. 22; no. 1; pp. 61 - 63 |
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| Autor principal: | |
| Formato: | Artículo |
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MIT Press
Dec2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=83271119&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 83271119 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09611215 1F1 jtl: Leonardo Music Journal issn: 09611215 maglogo: N pubinfo: dt: Dec2012 vid: 22 iid: 1 pid: 776 pub: MIT Press artinfo: ui: 83271119 10.1162/LMJ_a_00099 ppf: 61 ppct: 2 formats: fmt: @attributes: type: P size: 59KB tig: atl: Ear as Instrument. aug: au: Haworth, Christopher affil: Artist and Writer, Sonic Arts Research Centre, School of Creative Arts, Queens University Belfast, BT7 1NN, U.K. su: Computer music Computer composition Electronic music Acoustical engineering Musical composition Sound sug: subj: Computer music Computer composition Electronic music Acoustical engineering Musical composition Sound ab: The desire for instrumental qualities in computer music often leads the artist to a process of "synthetic limitation," wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possibilities available to the digital artist: as though the path to new sounds and ever more intimate control leads ultimately to a retreat. The author's response to this perennial dilemma has been to try to discover instrumental limitations within the ear itself. He describes an "ear-as-instrument" approach to the composition of Correlation Number One (CNO), an eight-channel computer music work he created in 2010 that uses a self-authored form of Distortion Product Oto-Acoustic Emission (DPOAE) synthesis. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Leonardo Music Journal is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Leonardo Music Journal holder: MIT Press dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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