MUS 221 Midterm Listenings

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10 Terms

1

Poeme electronique

Edgard Varese

  • Composed with tape, electronic sound generators, recorded acoustic sounds

  • Premiered at the Brussels Worldā€™s Fair in the Philips Pavilion

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2

Pot au Feu

  • Delia Derbyshire (1968)

  • Composed using various tape loops from the BBC library of sounds

  • slow intro then fast section

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3

Partiels

GĆ©rard Grisey.

Written for 18 instruments, the piece is considered a defining work of spectral music

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4

Woodpecker No. 2

By Merbow

An example of noise music

Sounds like static

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5

moDernisT

Ryan Maguire

Created by salvaging the sounds lost to mp3 compression from the song ā€œTomā€™s Dinerā€, famously used as one of the main controls in the listening tests to develop the MP3 encoding algorithm

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6

ā€œMovement 1ā€ from 1-Bit Symphony

Tristan Perich

  • Composed on a single microchip

    • The CD case IS the performer!

  • Generates all sound with a 1-bit on-off electrical pulse

    • Literally 0s and 1s

  • Has a melody but is scratchy

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7

Bucephalus Bouncing Bal

by Aphex Twin, from the Come to Daddy EP (1997)

  • Most sounds generated by processing a sample of a bouncing ball, despite not having access to a power DAW with a graphical interface at the time

  • percussion sounds like a ball bouncing

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8

Archangel

  • Burial, from the album Untrue. (2007)

  • Produced in Sound Forge, which lacked true multitrack capabilities and other features present in most DAWs

  • Includes:

    • Pitch-shifted, heavily edited vocal samples

    • Samples from the Metal Gear Solid video game series

    • Skipped drum patterns resulting from uneven loop edits

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9

My Home is in the Delta

  • Muddy Waters, from the album Folk Singer (1964)

  • Use of an echo chamber, a separate space in the studio designed for its reflective characteristics

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10

Sweet Jane

  • Cowboy Junkies, from the album The Trinity Session (1988)

  • Notable for the use of a single microphone with the band arranged in a circle around it

  • The volume balance between performers was carefully calibrated with their distance from the mic and volume of amplifiers

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