Download PDF by Norman: A Poetry of Reality: Composing with Recorded Sound

By Norman

This quantity is worried with questions bobbing up from the compositional use of recorded real-world sound and is intentionally eclectic in either strategy and subject material. even supposing desktop track composition is easily represented, there's a wakeful try to increase the sector to incorporate different tune during which recorded sound, and the recording strategy itself, has an important function. The booklet specializes in the method of listening in daily life that is of elemental value to the reception and composition of real-world song. A compact disc containing a number of the musical examples featured is integrated with the textual content.

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Extra info for A Poetry of Reality: Composing with Recorded Sound (Contemporary Music Review Series)

Sample text

Many imaginative journeys maintain the appearance of a connection to the known; by convincing us that the world we are entering has some relation to reality, fantasies can encourage us to believe the increasingly irrational intelligence of an imagined world. ‘Once upon a time’ gives us access to a fairy-tale fabrication but also implies that, once, this remembered time was real. And fairy-tale characters often live in real or pseudo-real countries, have realistically described homes, and do real things—drink, eat, sleep—even if the homes are golden palaces, the food and drink is ultimately enchanted or the sleep may be for a hundred years.

Our perception has evolved so as to interpret the sensory stimuli and to take advantage of them in the way best suited to providing useful information about the world. In particular, hearing is equipped to perform inquiries: at the arrival of a complex sound signal, it can separate different sound sources and guess the direction and the distance of the sound sources as well as the mechanical process they embodied. To achieve such feats, hearing has developed highly specific processes, taking into account the laws of mechanics and acoustics—and it resorts to these processes even when it deals with synthetic sounds, for which these processes do not apparently make sense.

Bachelard, 1988, p. 4) If reality obscured—through mythologizing, through montage, through digital filtering—accesses a peculiarly emotional recognition, Bachelard gives some indication of the poetic value of this exercise. In exploring that ‘continuous path’ from the real to the imaginary, through the poetics of real-world music rather than poetry per se, we might discover that real-world music also encourages an individual, imaginative discovery of what is immanent in reality. And this is why it holds fast to its connection to the real.

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