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Ear as Instrument

Ear as Instrument The desire for instrumental qualities in computer music often leads the artist to a process of “synthetic limitation,” wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possibilities available to the digital artist: as though the path to new sounds and ever more intimate control leads ultimately to a retreat. The author's response to this perennial dilemma has been to try to discover instrumental limitations within the ear itself. He describes an “ear-as-instrument” approach to the composition of Correlation Number One (CNO) , an eight-channel computer music work he created in 2010 that uses a self-authored form of Distortion Product Oto-Acoustic Emission (DPOAE) synthesis. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Ear as Instrument

Leonardo Music Journal , Volume December 2012 (22) – Dec 1, 2012

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Publisher
MIT Press
Copyright
© 2012 ISAST
Subject
Perception
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_a_00099
Publisher site
See Article on Publisher Site

Abstract

The desire for instrumental qualities in computer music often leads the artist to a process of “synthetic limitation,” wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possibilities available to the digital artist: as though the path to new sounds and ever more intimate control leads ultimately to a retreat. The author's response to this perennial dilemma has been to try to discover instrumental limitations within the ear itself. He describes an “ear-as-instrument” approach to the composition of Correlation Number One (CNO) , an eight-channel computer music work he created in 2010 that uses a self-authored form of Distortion Product Oto-Acoustic Emission (DPOAE) synthesis.

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2012

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