Re: [microsound] Klanghausen | deadline: Sept 1st 2003

["pelagius pelagius" <pela_gius@xxxxxxxxxxx>]

>From: Kim Cascone <kim@xxxxxxxxxxxxxxxxx>
>'In a lecture entitled The Four Criteria of Electronic Music, Stockhausen
>used the electronic sounds of Kontakte to illustrate the following 
>concepts:
>1 Composition in the musical time continuum.
>2 The decomposition of sound.
>3 Composition of several layers in space.
>4 The equality of musical sound and noise."

I think the first two criteria were named differently though it could be 
just a matter of translation.  I remember #1 as "A Unified Time Structure"  
and #2 as "The Splitting of the Sound" both of which I think sound a little 
more poetic.  I enjoyed reading the transcript of the book club chat and I 
was thinking of Stockhausen's 4 Criteria as I was reading.

I was wondering about the use of "impulses" in Kontakte.  The project 
description seems based around the idea of feeding an impulse through 
various sound processes like you would do in convolution.  I was under the 
impression that the "impulses" in Kontakt were long trains of impulses based 
on the concept of a Unified Time Structure.  In other words rhythmic 
patterns of impulses were built up and edited together on tape and then sped 
up to the point that the discrete impulses become a continuous tone.  In 
this way the impulse trains become a means to explore the unified time 
structure and the continuum between the macro and micro structures of sound 
from overall form, through to rhythm, and then tone and timbre (which 
recalls the first book club discussion of top-down, bottom-up, etc.).

Hmm, I need to go buy that damn microsound book.

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