Re: [microsound] why electronics?

[Joshua Maremont <thermal@xxxxxxxxxxxxxxxxx>]

At 01:03 PM 7/23/01 -0400, Robert Pietrusko wrote:
> You might look into the work of Gerard Grisey if you haven't already. It 
> is acoustic
> music that is written based on FFT analysis of other acoustic sounds.
> he did some interesting things trying to simulate the sound of ring 
> modulation and
> such.  none of it is gimmicky however, all very interesting compositions.
> he was one of the "spectral composers"
> Xenakis is perfect for an acoustic version of Granular synthesis and
> Ligeti for an acoustic version of Additive synthesis.

Alas it seems Grisey and fellow spectral composer Tristan Murail have had 
their music lapse into out of print obscurity.  Can anything still be found 
by these two, or by any other spectralists aside from Radulescu?  As for 
Ligeti, his early works for organ, in which not only the keys were played, 
were as alien and seemingly non-acoustic as anything coming out of an 
electronic device, and perhaps even more alien than his own electronic 
pieces.  Of course many of the analog and digital electronic instruments 
out there were designed to mimic the sonic properties of acoustic 
instruments, so the idea that the latter may in some cases be imitating 
imitations of themselves is interesting.  As for acoustically originated 
yet still electronic music based upon acoustic phenomena, the recordings of 
Giancarlo Toniutti structured around linquistic analysis comes to mind as 
an example.

np - Public Enemy on KALX

Joshua Maremont / Thermal - mailto:thermal@xxxxxxxxxxxxxxxxx
Boxman Studies Label - http://www.boxmanstudies.com/