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Composing Electronic MusicA New Aesthetic$

Curtis Roads

Print publication date: 2015

Print ISBN-13: 9780195373233

Published to Oxford Scholarship Online: August 2015

DOI: 10.1093/acprof:oso/9780195373233.001.0001

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(p.393) Appendix A Sound examples

(p.393) Appendix A Sound examples

Source:
Composing Electronic Music
Publisher:
Oxford University Press

Most examples are brief excerpts.

Introduction

  1. 0.1 Strasser 60 by Earl Howard. Performed live at Roulette, New York City, 12 November 2009. From Granular Modality. New World Records 80728-2.

  2. 0.2 Always (2013) by Curtis Roads.

  3. 0.3 Fluxon (2003) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  4. 0.4 Brich dem Hungrigen dein Brot (1726) by J. S. Bach. BWV 39. Collegium Vocale, Ghent, directed by P. Herreweghe. Virgin Classics 7243 5 62252 2 0.

1 The electronic medium

  1. 1.1 Brandenburg Concerto No. 3, Allegro movement. (1721) by J. S. Bach. From Switched-On Bach (1968) by Wendy Carlos. Columbia Records. Reissued 1999 on East Side Digital. ESD 81422.

  2. 1.2 Sheep may safely graze, from Cantata 208 (1713) by J. S. Bach, from Switched-On Bach II (1973) by Wendy Carlos. East Side Digital. ESD 81422

  3. 1.3 Underwater Waltz (1952) by Vladimir Ussachevsky.

  4. 1.4 Composition for synthesizer (1961) by Milton Babbitt. Columbia-Princeton Electronic Music Center. Columbia Records MS 6566.

  5. 1.5 Wall me do (1987) by Carl Stone. Music and Arts Programs of America CD-276.

  6. (p.394) 1.6 String Quartet Opus 132 (1825) by Ludwig Beethoven, sequenced by Eric Lindemann. Internet: www.synful.com.

  7. 1.7 Volumina (1961) by Gyorgy Ligeti. Candide LP CE 31009.

  8. 1.8 Purity (1994) by Curtis Roads. from Xenakis, UPIC, Continuum. MODE Records 98/99.

  9. 1.9 Epicurus (2010) by Curtis Roads.

  10. 1.10 Langsames Stück und Rondo für Trautonium (1935) by Paul Hindemith. Performed on the Mixtur-Trautonium by Oskar Sala on the CD Subharmonische Mixturern. Erdenklang 70962.

  11. 1.11 Presque rien no. 1, le lever du jour au bord de la mer (1970) by Luc Ferrari. Musicdisc 245172.

  12. 1.12 Industrial Revelations (2001) by Natasha Barrett. Isostasie. empreintes DIGITALes IMED 0262.

  13. 1.13 Now (2003) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  14. 1.14 Love at the Swimming Hole from the soundtrack to Forbidden Planet (1956) by Louis and Bebe Barron. Small Planet Records PR-D-001.

2  Aesthetic foundations

  1. 2.1 Crystal Skull of Lubaantum (1999) by Jeremy Haladyna. The sounds are produced entirely by sampled glass crystals, including a glass rod striking glass. Innova 818. American Composers Forum.

  2. 2.2 Aquaforms (2000) by JoAnn Kuchera-Morin.

  3. 2.3 Utility of Space (2000) by Natasha Barrett. Isostasie. empreintes DIGITALes IMED 0262.

  4. 2.4 Harrison Variations (2004) by Horacio Vaggione. ETC. EMF CD 053.

  5. 2.5 Altars of Science (2007) by Markus Schmickler. Editions MEGO 082.

  6. 2.6 Tenth vortex (2000) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  7. 2.7 Organic, part 2 of Clang-tint (1994) by Curtis Roads.

3  The nature of sound

  1. 3.1 Sonatina for CDC 3600 (1966) by Arthur Roberts.

  2. 3.2 District Line II (2004) by Squarepusher. Ultravisitor. Warp CD117.

  3. 3.3 Synchronisms Number 6 (1970) for piano and electronic sound by Mario Davidovsky. The Music of Mario Davidovsky, Volume 3. Bridge Records 9171.

  4. 3.4 Eleventh vortex (2001) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

(p.395) 4  Creating sound materials

  1. 4.1 Omaggio a Emilio Vedova (1960) by Luigi Nono. Wergo 62292.

  2. 4.2 Water Walk (1959) by John Cage. Internet: www.youtube.com/watch?v=aLZ7yVszwgk.

  3. 4.3 Dripsody (1955) by Hugh LeCaine. Internet: www.hughlecaine.com/en/compositions.html

  4. 4.4 Quatermass (1964) by Tod Dockstadter. Starkland ST201.

  5. 4.5 Prelude II (1967) by Ilhan Mimaroglu. Electronic Music III. Turnabout/Vox TV 13477.

  6. 4.6 Prelude XI (1967) by Ilhan Mimaroglu. Electronic Music III. Turnabout/Vox TV 13477.

  7. 4.7 corner (2003) by Kaffe Matthews from eb + flo. Annette Works AWCD0005

  8. 4.8 (a) Coalescence of a sound by means of dictionary-based decomposition, transformation, and resynthesis.

  9. 4.8 (b) Coalescence of a sound by means of time-domain granulation.

  10. 4.9 The effects of cavitation on a sound.

  11. 4.10 Thema (Omaggio a Joyce) by Luciano Berio (1958). BMG Classics 09026-68302-2.

  12. 4.11 L’oiseau chanteur (1964) by François Bayle. Philips DSY 836 895.

  13. 4.12 Synchronisms Number 5 for percussion ensemble and electronic sounds (1969) by Mario Davidovsky. Electronic Music. CRI Modern Masters CD 611.

  14. 4.13 Quartetto per viola solo (2006) by Martino Traversa. Manhattan Bridge. NEOS 11023.

  15. 4.14 Weekend (1930) by Walter Ruttmann. Metamkine MKCD010.

  16. 4.15 Hétérozygote (1964) Luc Ferrari. BVHAAST CD 9009.

  17. 4.16 Presque rien, numéro 1, le lever du jour au bord de la mer (1970) by Luc Ferrari. Musicdisc 245172.

  18. 4.17 Fizz (2004) by Maggi Payne. Innova 783.

  19. 4.18 A long compound sound consisting of the superposition of a time-varying harmonic component, a broadband noise component, and an undulating bass component.

  20. 4.19 In Winter Shine (1983) by James Dashow. Music for Instruments and Computer. Experimental Music Studio. MIT Media Laboratory. YHDS 16.

  21. 4.20 Analog #1: Noise Study (1961) by James Tenney. Artifact FP001/ART 1007.

  22. 4.21 Composition for Synthesizer (1961) by Milton Babbitt. Columbia-Princeton Electronic Music Center. Columbia Records MS 6566.

  23. 4.22 Live at Queen Elizabeth Hall (1998) by Russell Haswell. Live Salvage 19972000. Editions MEGO 012.

  24. (p.396) 4.23 Scambi (1957) by Henri Pousseur. BVHAAST CD 9010.

  25. 4.24 Appearance (1967) for three instruments, two oscillators, and two ring modulators by Toshi Ichiyanagi.

  26. 4.25 White, pink, and brown noise.

  27. 4.26 19-tone Clusters (2010) with sine waves by Hubert S. Howe. Clusters. Ravello Records RR-7817.

  28. 4.27 19-tone Clusters (2010) with instrumental samples by Hubert S. Howe. Clusters. Ravello Records RR-7817.

5  Sound transformation

  1. 5.1 Santur Opera (1977) for santur and electronics by Ivan Tcherepnin. Flores Musicales; Five Songs; Santur Live! CRI 684.

  2. 5.2 E Cosi Via (And so on) (1985) for piano and tape by Daniel Teruggi. Wergo 2028-2.

  3. 5.3 Philomel (1964) for soprano, recorded soprano, and synthesized tape by Milton Babbitt. New World Records 80466-2.

  4. 5.4 Wind Chimes (1987) by Denis Smalley. empreintes DIGITALes IMED 0409.

  5. 5.5 Deriving a family of sounds through a single transformation. We hear a vocal sample followed by eight variations, all produced with a multiband frequency-shifting effect (Virsyn PRISM).

  6. 5.6 Terminus I (1962) by Gottfried Michael Koenig.

  7. 5.7 Mimetismo (1992) for guitar and tape by Stéphane Roy. empreintes DIGITALes IMED 9630.

  8. 5.8 de natura sonorum (1975) by Bernard Parmegiani. INA C3001.

  9. 5.9 An impulse generated by the author in 1999.

  10. 5.10 An 800 ms sound object created by granulating the impulse of example 5.9.

  11. 5.11 Volt air III (2003) by Curtis Roads, much of which was derived from granulating the sound in example 5.10. POINT LINE CLOUD. Asphodel ASP-3000.

  12. 5.12 Now (2003) by Curtis Roads, much of which was derived by granulating Volt air III in sound example 5.11. POINT LINE CLOUD. Asphodel ASP-3000.

  13. 5.13 Never (2010) by Curtis Roads, much of which was derived by granulating Now in sound example 5.12.

  14. 5.14 Always (2013) by Curtis Roads, much of which was derived by granulating Never in sound example 5.13.

(p.397) 6  Processes of rhythm

  1. 6.1 Sonal atoms (Part 1 of Half-life, 1999) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  2. 6.2 Amériques (1921, revised 1927) by Edgard Varèse. Cleveland Orchestra, Christoph von Dohnanyi, Conductor. Decca 443 172-2.

  3. 6.3 Ionisation (1931) by Edgard Varèse. Varèse Orchestra Works 2. Polish National Radio Symphony Orchestra, Christopher Lendon-Gee, Conductor. Naxos 8.557882.

  4. 6.4 (a) Speedup from pure pulsation to pitched tone and back.

  5. 6.4 (b) Speedup of burst pattern (3-on, 3-off) to pitched tone and back. Notice the subharmonic pitch.

  6. 6.5 Electronic study number 3 (1965), Mario Davidovsky. Internet: avantgardeproject.conus.info/mirror/index.htm

  7. 6.6 Laborintus 2, part 2 (1965) by Luciano Berio. Musique Vivante. Harmonia Mundi HMA 190764.

  8. 6.7 Cycle des souvenirs (2000) by Luc Ferrari. Blue Chopsticks BC8.

  9. 6.8 24 Variations (2002) by Horacio Vaggione. ICMC 2002: Göteborg Sweden. International Computer Music Association.

  10. 6.9 Points critiques (2011) by Horacio Vaggione. INA/GRM 6032.

  11. 6.10 Pulsating grain echo in Sonal atoms (Part 1 of Half-life) (1999) Curtis Roads.

  12. 6.11 Touch (1969) Morton Subotnick. Wergo 2014-50.

  13. 6.12 Transition from tracks 8 to 9 on the album Confield (2001) by Autechre. Warpcd28 801061012823.

  14. 6.13 Pattern generated by Hammond Rhythm II percussion unit on a 1969 Hammond T422 organ by pressing pattern selection buttons and turning a tempo knob. The reverberation effect is provided by the built-in spring reverberator.

  15. 6.14 Sound created by the author using PulsarGenerator to crisscross between rhythm and tone corresponding to figure 6.14.

  16. 6.15 Tiptop Z8000 Acid jam and experiments, Part 1 (2010) by Richard Devine and Josh Kay. The patch uses two Z3000 voltage-controlled oscillators, Doepfer A-145, and Tiptop’s Z-DSP with Bat Filter card for processing.

  17. 6.16 Eardrill Pendulum/ratchet clock module demonstration. Internet: www.eardrill.com/modules/PendulumRatchet.

  18. 6.17 Funktion Grau (1969) by Gottfried Michael Koenig. Acousmatrix 1/2. BVHAAST CD9001/2.

  19. 6.18 Silver Apples of the Moon (1967) by Morton Subotnick. Wergo 2035-2 282 035-2.

  20. 6.19 Volt air, part 1 (2003) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  21. (p.398) 6.20 Volt air, part 2 (2003) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  22. 6.21 Touche pas, part 1 (2009) by Curtis Roads.

  23. 6.22 Sculptor (2001) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

7  Pitch in electronic music

  1. 7.1 Subharmonische Mixturen (1995) by Oskar Sala. Performed on the Mixtur-Trautonium on the CD Subharmonische Mixturen. Erdenklang 70962.

  2. 7.2 Musique douze (1976) by Ragnar Grippe. Caprice CAP 21471.

  3. 7.3 Cymbal glissando.

  4. 7.4 Cymbal crash followed by cymbal pitch-shifted by a perfect fifth three times.

  5. 7.5 Etude 22 (1993) by Warren Burt. 39 Dissonant Etudes. Tall Poppies TPO 93.

  6. 7.6 Electronic Study Number 2 (1962) by Mario Davidovsky. Columbia-Princeton Electronic Music Center. Columbia MS 6566.

  7. 7.7 Sidewinder (1971) by Morton Subotnick. MODE 132.

  8. 7.8 Turenas (1972) by John Chowning. Wergo 2012-50.

  9. 7.9 Pictor alpha (2003) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  10. 7.10 Epicurus (2010) by Curtis Roads

  11. 7.11 Arioso Dolente/Beethoven op.110 (2002) by Theodore Lotis. Cache 2003. CA+UK.

  12. 7.12 Dragonfly (2011) by Laurent Delforge.

  13. 7.13 Strasser 60 (2009) performed live by Earl Howard. From Granular Modality. New World Records 80728-2.

  14. 7.14 Purity, from Clang-tint (1994) by Curtis Roads. Xenakis, UPIC, Continuum. MODE Records 98/99.

8  Articulating space

  1. 8.1 Out of Into (1972) by Bulent Arel and Daria Semegen. New World Records 80521-2.

  2. 8.2 Polytope de Cluny (1972) by Iannis Xenakis. Xenakis, UPIC, Continuum. MODE 98/99.

  3. 8.3 Capture éphémère (1968) by Bernard Parmegiani. La mémoire des sons. INA-GRM 275 902.

  4. 8.4 Tape echo feedback experiment by Curtis Roads with an impulse generator as the source. From a study for Then (2014).

  5. 8.5 I of IV (1966) by Pauline Oliveros.

  6. (p.399) 8.6 A reverberation chord constructed by applying reverberation to a drum sound. (a) Dry (non-reverberated) snare drum sound. (b) Reverberated drum sound. (c) Reverberated drum sound transposed down a perfect fifth (seven semitones). (d) Reverberated drum sound transposed down fourteen semitones. (e) Reverberated drum sound transposed down 21 semitones. (f) Alignment of (a) through (e) to form a reverberation chord. (g) Sequence of transposed drum tones. (h) Equivalent chord played with pitched tones.

  7. 8.7 Traversée des abysses (1991) by Michel Redolfi. Studio CIRM/NAUSICAA Centre National de la Mer.

  8. 8.8 Life in the Universe (1998) by Ken Fields. MetaTools CD-ROM.

  9. 8.9 Agon (1998) by Horacio Vaggione. IMEB Opus 30, Volume 2 1984-1999. Chrysopée électronique 16.

  10. 8.10 Sud (part 1) (1985) by Jean-Claude Risset. INA/GRM C 1003.

  11. 8.11 Sud (part 3) (1985) Jean-Claude Risset. INA/GRM C 1003.

  12. 8.12 Hammond organ tone (1) static without Leslie rotation, (2) slow rotation, (3) fast rotation, (4) slow rotation, (5) no rotation.

9  Multiscale organization

  1. 9.1. Ensembles for Synthesizer (1964) by Milton Babbitt. Columbia-Princeton Electronic Music Center. Finnadar QD-9010.

  2. 9.2. Gendy3 (1991) by Iannis Xenakis. Neuma 450-86.

  3. 9.3 Four musical outputs from Wolfram Tones using the “Classical” style selection. Internet: tones.wolfram.com.

  4. 9.4. Points critiques (2012) Horacio Vaggione. INA/GRM 6032.

  5. 9.5 Tenth vortex (2000) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  6. 9.6 Eleventh vortex (2001) by Curtis Roads. POINT LINE CLOUD. Asphodel ASP-3000.

  7. 9.7 Continuo (1958) by Bruno Maderna. Stradivarius STR 33349.

  8. 9.8 Reflections (1975) for piano and synthesized tape by Milton Babbitt. New World Records 80466-2.

  9. 9.9 Mycenae-Alpha (1978) by Iannis Xenakis. Electro-acoustic Music Classics. Neuma 450-74.

  10. 9.10 Sud (part 3) (1985) by Jean-Claude Risset. INA/GRM C 1003.

  11. 9.11 Inharmonique for voice and tape (1977) by Jean-Claude Risset. INA/GRM C 1003.

  12. 9.12 Persepolis (1971) by Iannis Xenakis. FractalOX.

  13. 9.13 Capture éphémère (1968) by Bernard Parmegiani. La mémoire des sons. INA-GRM 275 902.

  14. 9.14 Sonal atoms, which is part 1 of Half-life (1999) by Curtis Roads.

  15. 9.15 Dragonfly (2011) by Laurent Delforge.

(p.400) 10  Sonic narrative

  1. 10.1 Pulse Persephone (1965) by Daphne Oram. Paradigm Discs PD21.

  2. 10.2 Process 5 (2010) by Xopher Davidson and Zbigniev Karkowski. Processor. SubRosa SR360.

  3. 10.3. Maroc (1998) by Thom Blum. Internet: www.thomblum.com/compositions.htm.

  4. 10.4 Water Spirits (2011) by Elizabeth Hoffmann. empreintes DIGITALes IMED 12115.

  5. 10.5 Prelude 12 for Magnetic tape (1967) by Ilhan Mimaroglu. Electronic Music III. Turnabout/Vox TV 13477.

  6. 10.6 Saliceburry Cocktail (2002) by Luc Ferrari from the compact disc Son Mémorisé. Sub Rosa SR252.

  7. 10.7 Numéro quatro from Les anecdotiques (2002) by Luc Ferrari. Sub Rosa SR207.

  8. 10.8 Any Resemblance is Purely Coincidental (1980) by Charles Dodge. New Albion NA 43.

  9. 10.9 Arioso Dolente/Beethoven op.110 (2002) by Theodore Lotis. Cache 2003. CA+UK. CEC PeP. PEP 008 2004.

  10. 10.10 Glassharfe (2006) by Ludger Brümmer.

11  Generative strategies

  1. 11.1 Vision and prayer (1961) by Milton Babbitt. Bethany Beardslee, soprano. CRI CD 521.

  2. 11.2 Relationships for Melody Instruments (1986 version) by Clarence Barlow. Performers: Clarence Barlow on computer (controlling certain parameters of the algorithmic improvisation, such as tempo), Michael Riesslar on bass clarinet, and Jaki Liebezeit on percussion. New Computer Music. Wergo 2010–50.

  3. 11.3 Stria (1978) by John Chowning. Wergo 2012-50.

  4. 11.4 ST/48 (1962) by Xenakis composed with his Stochastic Music Program. From Xenakis Orchestral Works Volume 5, Orchestre Philharmonique du Luxembourg, Arturo Tamayo, Conductor, Timpani 1C1113.

  5. 11.5 Accordion Study (2011) by Nick Collins. Internet: www.sussex.ac.uk/Users/nc81/music.html.

  6. 11.6 S-Phase (2011) by Lance Putnam.

(p.401) 12  The art of mixing

  1. 12.1 A Shangri-La in the Desert Garden with Cuddly Tiger from the soundtrack to Forbidden Planet (1956) by Louis and Bebe Barron. Small Planet Records PR-D-001.

  2. 12.2 Little Animals (1997) by Natasha Barrett. Chillies & Shells. Nota Bene Records, NB 980101M.

  3. 12.3 Always (2013) by Curtis Roads. A reverberation cadence occurs 40 seconds into this sound example.

  4. 12.4 Thema (Omaggio a Joyce) (1958) by Luciano Berio.

  5. 12.5 Thema (Omaggio a Joyce) (1958) by Luciano Berio.

  6. 12.6 Red Snow (1998) by Natasha Barrett. Chillies & Shells. Nota Bene Records, NB 980101M.

(p.402)