(no subject)
gábor uncertainty principle: "a more accurate measure of the temporal aspect of a partial entails a less accurate measurement of its frequency and vice versa"
the grain of the voice: roland barthes (image music text p 184)
the ineffable vs the predicable: fuzzy logic in grisey's orchestration
"where pitch is governed by law and timbre is governed by taste"
"What strikes one about Grisey's stance towards musical material is its essential negativity. He says that 'the material derives from the natural growth of sonority, from the macrostructure and not the other way around. In other words there is no basic material (no melodic cell, no
complex of notes or note-values). (Croft, 195) ... connected to the "essential neutrality of spectra" (196)
timbre and orchestration
1. what is orchestration?
2. what is spectra-based harmony/timbre? why is it so fused?
3. what are formants? how do formants give individuality to spectral content?
4. what is the neutrality of spectra? why is "neutrality" so significant to the innovations of early spectralism?
5. what is the relationship between content and duration in terms of making a sonic (spectral) profile?
6. why is pitch elusive? gábor uncertainty principle.
7. what formants are we layering when we orchestrate standard instruments?
8. how do vocal formants differ from instrumental formants, visually?
9. what instruments constitute "order" or something closer to the sinusoidal ideal? what about "disorder" or something closer to noise? how would we rank grisey's instruments?
10. how can we read the idea of depiction through the spectral philosophy? what is there to depict and why?
11. what is happening with timbre, from a structural narrative standpoint, in the first song? are there roles, or zones, or blocks of timbre? what is the significance of the doppelgänger here? is there a relationship with notated pitch movement?
12. how does order / disorder work on a timbre-structure level?
- break down first song into quasi-schenker graph
- do spectrograms of instruments (pick a measure, isolate instruments, analyze individual instruments, analyze recording, compare)
- identify most important formants and their combined shape
===
D E T O X by magella, continued
ackronyms by ackryte
life size ghosts (catching flies remix) by mt. wolf
mobius streak by hiatus kaiyote
lonely lonely (frisbee'd mix) by feist
twisted nerve by esbe
sun of the morning by pony girl
tamala-him (mitsu the beats remix) by snö
take a fall for me ft rza by james blake
the grain of the voice: roland barthes (image music text p 184)
the ineffable vs the predicable: fuzzy logic in grisey's orchestration
"where pitch is governed by law and timbre is governed by taste"
"What strikes one about Grisey's stance towards musical material is its essential negativity. He says that 'the material derives from the natural growth of sonority, from the macrostructure and not the other way around. In other words there is no basic material (no melodic cell, no
complex of notes or note-values). (Croft, 195) ... connected to the "essential neutrality of spectra" (196)
timbre and orchestration
1. what is orchestration?
2. what is spectra-based harmony/timbre? why is it so fused?
3. what are formants? how do formants give individuality to spectral content?
4. what is the neutrality of spectra? why is "neutrality" so significant to the innovations of early spectralism?
5. what is the relationship between content and duration in terms of making a sonic (spectral) profile?
6. why is pitch elusive? gábor uncertainty principle.
7. what formants are we layering when we orchestrate standard instruments?
8. how do vocal formants differ from instrumental formants, visually?
9. what instruments constitute "order" or something closer to the sinusoidal ideal? what about "disorder" or something closer to noise? how would we rank grisey's instruments?
10. how can we read the idea of depiction through the spectral philosophy? what is there to depict and why?
11. what is happening with timbre, from a structural narrative standpoint, in the first song? are there roles, or zones, or blocks of timbre? what is the significance of the doppelgänger here? is there a relationship with notated pitch movement?
12. how does order / disorder work on a timbre-structure level?
- break down first song into quasi-schenker graph
- do spectrograms of instruments (pick a measure, isolate instruments, analyze individual instruments, analyze recording, compare)
- identify most important formants and their combined shape
===
D E T O X by magella, continued
ackronyms by ackryte
life size ghosts (catching flies remix) by mt. wolf
mobius streak by hiatus kaiyote
lonely lonely (frisbee'd mix) by feist
twisted nerve by esbe
sun of the morning by pony girl
tamala-him (mitsu the beats remix) by snö
take a fall for me ft rza by james blake