Below the level of the musical note lies the realm of
microsound, of sound particles lasting less than one-tenth of a
second. Recent technological advances allow us to probe and
manipulate these pinpoints of sound, dissolving the traditional
building blocks of music -- notes and their intervals -- into a
more fluid and supple medium. The sensations of point, pulse
(series of points), line (tone), and surface (texture) emerge as
particle density increases. Sounds coalesce, evaporate, and mutate
into other sounds.Composers have used theories of microsound in
computer music since the 1950s. Distinguished practitioners include
Karlheinz Stockhausen and Iannis Xenakis. Today, with the increased
interest in computer and electronic music, many young composers and
software synthesis developers are exploring its advantages.
Covering all aspects of composition with sound particles,
Microsound offers composition theory, historical accounts,
technical overviews, acoustical experiments, descriptions of
musical works, and aesthetic reflections. The book is accompanied
by an audio CD of examples.
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