By the same authors

Composing for the resonance: finding new relationships between architecture and musical composition.

Research output: Chapter in Book/Report/Conference proceedingChapter

Standard

Composing for the resonance : finding new relationships between architecture and musical composition. / Field, Ambrose Edmund.

IRCAM Open Music Composer’s Book . ed. / Jean Bresson; Gérard Assayag; Carlos Agon. Vol. 3 Paris : Editions Delatour/IRCAM, Paris, 2016.

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Field, AE 2016, Composing for the resonance: finding new relationships between architecture and musical composition. in J Bresson, G Assayag & C Agon (eds), IRCAM Open Music Composer’s Book . vol. 3, Editions Delatour/IRCAM, Paris, Paris.

APA

Field, A. E. (2016). Composing for the resonance: finding new relationships between architecture and musical composition. In J. Bresson, G. Assayag, & C. Agon (Eds.), IRCAM Open Music Composer’s Book (Vol. 3). Editions Delatour/IRCAM, Paris.

Vancouver

Field AE. Composing for the resonance: finding new relationships between architecture and musical composition. In Bresson J, Assayag G, Agon C, editors, IRCAM Open Music Composer’s Book . Vol. 3. Paris: Editions Delatour/IRCAM, Paris. 2016

Author

Field, Ambrose Edmund. / Composing for the resonance : finding new relationships between architecture and musical composition. IRCAM Open Music Composer’s Book . editor / Jean Bresson ; Gérard Assayag ; Carlos Agon. Vol. 3 Paris : Editions Delatour/IRCAM, Paris, 2016.

Bibtex - Download

@inbook{e1b5f28a54fb4492b61dd10dba6ebfa5,
title = "Composing for the resonance: finding new relationships between architecture and musical composition.",
abstract = "This chapter documents my search for a new compositional method that could be informed by the acoustic response of the venue in which a piece is to be performed. Although composers have written pieces for particular spaces for centuries, this is traditionally a process informed by aural memory. I had two main aims: I wanted my work to have a tight bond between score and acoustic result, and I wanted to be able to design pieces where the acoustic contribution of a venue would be a known entity at composition time - rather than an after-effect of a performance. Both of these factors create new musical possibilities as they permit the space itself to become an integrated part of the composition. This body of work would not have been possible without OM, and the role of the system is explained with example patches demonstrating sound analysis, harmonic selection, rhythmic generation and texture manipulation.",
keywords = "OpenMusic, Architecture",
author = "Field, {Ambrose Edmund}",
year = "2016",
month = jan,
day = "1",
language = "English",
volume = "3",
editor = "Bresson, {Jean } and G{\'e}rard Assayag and { Agon}, Carlos",
booktitle = "IRCAM Open Music Composer{\textquoteright}s Book",
publisher = "Editions Delatour/IRCAM, Paris",

}

RIS (suitable for import to EndNote) - Download

TY - CHAP

T1 - Composing for the resonance

T2 - finding new relationships between architecture and musical composition.

AU - Field, Ambrose Edmund

PY - 2016/1/1

Y1 - 2016/1/1

N2 - This chapter documents my search for a new compositional method that could be informed by the acoustic response of the venue in which a piece is to be performed. Although composers have written pieces for particular spaces for centuries, this is traditionally a process informed by aural memory. I had two main aims: I wanted my work to have a tight bond between score and acoustic result, and I wanted to be able to design pieces where the acoustic contribution of a venue would be a known entity at composition time - rather than an after-effect of a performance. Both of these factors create new musical possibilities as they permit the space itself to become an integrated part of the composition. This body of work would not have been possible without OM, and the role of the system is explained with example patches demonstrating sound analysis, harmonic selection, rhythmic generation and texture manipulation.

AB - This chapter documents my search for a new compositional method that could be informed by the acoustic response of the venue in which a piece is to be performed. Although composers have written pieces for particular spaces for centuries, this is traditionally a process informed by aural memory. I had two main aims: I wanted my work to have a tight bond between score and acoustic result, and I wanted to be able to design pieces where the acoustic contribution of a venue would be a known entity at composition time - rather than an after-effect of a performance. Both of these factors create new musical possibilities as they permit the space itself to become an integrated part of the composition. This body of work would not have been possible without OM, and the role of the system is explained with example patches demonstrating sound analysis, harmonic selection, rhythmic generation and texture manipulation.

KW - OpenMusic, Architecture

M3 - Chapter

VL - 3

BT - IRCAM Open Music Composer’s Book

A2 - Bresson, Jean

A2 - Assayag, Gérard

A2 - Agon, Carlos

PB - Editions Delatour/IRCAM, Paris

CY - Paris

ER -