Re: [microsound] about the klanghausen project...

["Phil Thomson" <hellomynameisphil@xxxxxxxxxxxxxx>]

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Would it be possible for someone to scan the relevant page from
_Microsound_ and post it somewhere? It might give people some idea of
the inspiration for the project.

Stockhausen's _Kontakte_ was made with impulses triggering events in
other circuits in a "classical" analog studio. I think this project is
intended as something like a digital reworking of the original idea. On
a technical level, that's about all there is to it. The rest is up to
the composer.

A pulse train, IIRC, is a regular or variable series if pulses.
Depending on their frequency, they can be heard as a rhythm (if <20 Hz)
or a "tone" (if> 20 Hz). You can also play with the boundary between
rhythm and tone, which is something that _Kontakte_ does a lot, and
which Stockhausen wrote about, in, for example, "...time passes when..."
and "The Unity of Musical Time". Frequency is just audio-rate rhythm.
Rhythm is sub-audio frequency. Even timbre (in the sense of spectrum) is
a superimposition of audio-rate rhythms ("frequencies"). It's at the
impulse (i.e., micro-) level that these relationships between the time
domains and frequency domains become perhaps most apparent. 

Blah blah blah.

Does this help at all? 

Phil

<-----Original Message-----> 
From: wsoderberg@xxxxxxxxxxx
Sent: 7/30/2003 10:45:30 PM
To: microsound@xxxxxxxxxxxxx
Subject: Re: [microsound] about the klanghausen project...

i was glad these questions were asked... would someone be willing to put
the
hay down where the horses can get at it?

----- Original Message -----
From: "visa" 
To: 
Sent: Wednesday, July 30, 2003 11:24 AM
Subject: [microsound] about the klanghausen project...

> It's not altogether clear to me what exactly is it that we are
expected to
> do, so could someone please clarify?
>
> You see, the whole idea of using an 'impulse' is a bit unfamiliar to
me.
> First I figured the task to simply be to compose a piece using nothing
but
> this impulse.aiff -file as a source. That is, to use all kinds of DSP
> methods to process the simple sample into more interesting audio
material,
> and compose using whatever methods, as long as nothing but that
impulse is
> used as the original source. Is this it? I started to wonder if there
is
> something more subtle or elegant about the impulse schema, something I
have
> missed... One reason for this is that I really don't know what is a
> 'pulsetrain'. Could someone elucidate?
>
> I'm quite eager to participate, so I'd appreciate if someone could set
me
> straight of what we are expected to do...
>
> thanks,
> .: visa tapani
>
>
>
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