Re: questions on processing in soundscapes


Subject: Re: questions on processing in soundscapes
From: sylvi macCormac (macCormac@shaw.ca)
Date: Tue Nov 15 2005 - 13:01:43 EST


speaking of birds and rivers and concrete beats in multichannel iPods /
wePods / PodX ..

Glenn Gould's Solitude Trilogy & BBC Radio Ballads greatly inspired th
audio portraits ie Voices of a Place: HW inside th Soundscape ... and
WHEELS (with the voices of people with dis abilities ...

sounds like Glenn Gould was trying to keep warm in th Northern
Landscapes. Funny coincidence, th Train my Father took from Ireland ;-)
broke down in Wawa which turns out to be one of Gould's favorite places.
B. Truax told me. Do you have more information on Gould & Wawa in Ontario
above th Great Lakes ... ? www / books ?

re Processing - perhaps another artist that might be considered is -
Lucia Dlugoszewski. Very interesting work - see/hear -

Chris DeLaurenti wrote:
>
> Lucia Dlugoszewski. Although she did not make electroacoustic music,
her delicately scored solo and chamber music often has a liquid,
electroacoustic feel.
> >
> > http://www.btinternet.com/~rubberneck/lucia.html
> > http://www.lafolia.com/archive/silverton/silverton200007dlugo.html
> > http://www.artofthestates.org/cgi-bin/piece.pl?pid=15
> >
> > best,
> > Chris
> >
> > ----
> > Sounds, scores, articles, comic covers of evil -
http://www.delaurenti.net/

but then we are considering th recording of an instrument in a room as
soundscape vs recording th acoustic soundscape of nature and/or urban
landscape. i am in a room different than th room that you are sitting in
(loop dat :-)

best regards, sylvi macCormac
~~~~~~~~~~~~~~~~~~~~~~~~~
http://www.sylvi.ca / na / da / bc
siwash rock & soundscape composition
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
if a Train can cross a Sea then SOCAN we

Kevin Austin wrote:

> Sounds like 'electroacoustics' to me. Can anyone confirm that Glenn
> Gould was the first 'classical' performer to integrate microphone
> distance / placement into his recordings? (Sibelius, Grieg, Bizet)
>
> ... the Sibelius. Here, Glenn Gould experimented with splicing and
> microphone placement to capture the best effects at each possible
> place in the score. You will probably envision Northern landscapes
> while listening to this -- yet I've never found this music cold.
>
> My only regret is that Glenn Gould didn't get a chance to record more
> Sibelius pieces. And that he never got another chance to experiment
> with microphone placement and splicing to this extent.
>
> Fans who don't mind experimentation should consider ordering Glenn
> Gould's "The Solitude Trilogy" -- where human voices become the
> instrument of his "composition." Now that's an experimental work...
>
> Best
>
> Kevin
>
> At 7:51 AM -0800 11/15/05, Andrew Czink wrote:
> > Although not directly relevant to soundscape work, pianist Marilyn
> >Lerner's CD Luminance (Ambiances Magnetiques) overtly explores the
> >creative 'signal processing' function of the microphone. The music
> >on the CD is her signature style solo piano work, but the recordings
> >were made with a large variety of microphones and using both
> >'standard' placements and very unusual ones. Your ears are drawn to
> >what the space and the transduction process is doing; something that
> >is normally made deliberately transparent. It's very interesting
> >listening.
> >
> > Andrew
> >



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