Subject: Re: Methods of Creation / Setup
From: Greg Eustace (firstname.lastname@example.org)
Date: Sun Sep 18 2005 - 10:22:42 EDT
> > This poses the question,
> > how will I do it? What will my work flow look like?
I will provide some general comments about EA, because I’m not sure how much
> I would highly suggest that you get something less
> "linear" for EAM.
So perhaps we can infer that electroacoustics has been concerned with
non-metered rhythms (although there are certainly metered works in EA). I think
you could approach this aim either formally or intuitively. The formal approach
could contain an underlying mathematical structure. For example you could use a
computer to generate pseudo random numbers and set these to correspond to the
time between events in the piece (where the events could be samples). Or you
could simply turn off your sequencer’s grid and place events intuitively. If
you're like me though, meter may be ingrained in you, so you could turn the
back on to double check. However, the placement of ‘events’ may not be as
obvious as sample onsets (events could occur within the recordings themselves,
like an dynamic contrast, for example).
Another consideration in EA is pitch. When composers of EA organize pitched
sounds, they often do not conform to musical scales (or they may avoid pitched
sounds all together). So instead of 12 discrete pitches (in the case of equal
temperament) you have the entire frequency range open to you. By changing the
pitch as a function of time you can create continuous (or discontinuous) shapes
which constitute ‘gestures’. The concept of gesture could be extrapolated to
parameter which changes with time, like amplitude envelope, filter cut-off
frequency, delay time, etc.
Just some possible approaches.
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