Composing Electronic Music: A New Aesthetic by Curtis RoadsElectronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Opening the door to an unlimited universe of sound, it engages spatialization as an integral aspect of composition and focuses on sound transformation as a core structural strategy. In this new domain, pitch occurs as a flowing and ephemeral substance that can be bent, modulated, or dissolved into noise. Similarly, time occurs not merely as a fixed duration subdivided by ratios, but as a plastic medium that can be generated, modulated, reversed, warped, scrambled, and granulated. Envelope and waveform undulations on all time scales interweave to generate form. The power of algorithmic methods amplify the capabilities of music technology. Taken together, these constitute game-changing possibilities.
This convergence of technical and aesthetic trends prompts the need for a new text focused on the opportunities of a sound oriented, multiscale approach to composition of electronic music. Sound oriented means a practice that takes place in the presence of sound. Multiscale means an approach that takes into account the perceptual and physical reality of multiple, interacting time scales-each of which can be composed. After more than a century of research and development, now is an appropriate moment to step back and reevaluate all that has changed under the ground of artistic practice.
Composing Electronic Music outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition-how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.
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Manon bowed her head. They had not spoken of the Crochan. Manon had gotten the message: next time, it would be one of the Thirteen on her knees. And a pathetic one. They kept to the shadows of the mountains, shifting ranks and dipping out of sight to prevent anyone from getting an accurate count of their numbers. Manon sighed through her nose, and the wind ripped the sound away, just as it streamed her long red cloak behind her.
This Collection was designed for Sarah J. Maas' THRONE OF GLASS Series, and is now not for sale. Please look forward to more merchandise announcements.
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And some BIG news! Where do I even begin? Once, when I was almost too young to remember, then twice when I was a teen. But that trip to the UK inspired me even more. Velma Kelly!