Subject: Re: (compound melody) was: fission
From: Kevin Austin (firstname.lastname@example.org)
Date: Wed Oct 27 2004 - 04:20:01 EDT
Streaming, stream segregation or more anciently, channelization, is
an old trick with analog synthesis.
The early examples are of: (use courier font)
OSC > Output
(low frequency) OSC > S/H
where the 'clock' and the (LF) oscillator are at similar low speeds.
An effect of auditory moire patterns appears at certain ratios. (An
example of this is my own "Free Running Clocks" from about 1984.)
If two (LF) Oscillators are used as the sample source for the LFO,
then more complex streaming patterns can be achieved.
A more modern example of this occurs in the last minute and a half of
the last movement of Yves Beaupre's "Humeur de facteur" (IMD 0160)
(empreinte DIGITALes), where the 'control voltage' (pattern is
derived from three periodic sources), is applied to a low-pass filter.
This particular example creates (in ASA terms) both (vertical)
integration and (linear) streaming at the same time.
Compound melody (or fragments of compound melody) appear in many
pieces involving multi-string instruments as the "larger intervals"
required become string changes (Bach examples, violin or cello
already noted). Trumpet players know this in the Carnival of Venice
Variations. The Prelude in C major from WTC I is an example of 5-part
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