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.
| Original language | English |
|---|---|
| Title of host publication | IRCAM Open Music Composer’s Book |
| Editors | Jean Bresson, Gérard Assayag, Carlos Agon |
| Place of Publication | Paris |
| Publisher | Editions Delatour/IRCAM, Paris |
| Number of pages | 12 |
| Volume | 3 |
| Publication status | Published - 1 Jan 2016 |
Keywords
- OpenMusic, Architecture
Profiles
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Ambrose Edmund Field
- Vice Chancellor's Office - Pro-Vice Chancellor for Global Strategy
Person: Academic