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Composing at the intersection of time and frequency

Published online by Cambridge University Press:  01 August 1996

MICHAEL CLARKE
MICHAEL CLARKE
Affiliation:
Department of Music, University of Huddersfield, Queensgate, Huddersfield HD1 3DH, England
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Abstract

Many software packages for computer music encourage the composer to take either a time domain approach or a frequency domain approach. This paper examines the possibilities afforded by recent software developments of working at the intersection of these two domains. It investigates the relationship between the FOF algorithm, originally used in the CHANT program, and more traditional approaches to granular synthesis, and considers how they can be combined. The author's compositions are used as illustrations of these techniques. The significance of using the FOF algorithm in granulating sound files is explained (FOG). Methods of using and controlling the FOG unit-generator are explained. Compositional and aesthetic issues arising from working with sound at this ambiguous intersection are investigated.

Type
Research Article
Information
Organised Sound , Volume 1 , Issue 2 , August 1996 , pp. 107 - 117
Copyright
© 1996 Cambridge University Press

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Footnotes

The work documented in this paper was made possible through the opportunity of working at a numnber of studios, and with the help of many people. In particular, I would like to thank Peter Manning (University of Durham), Tamas Ungvary (EMS, Stockholm), Xavier Rodet (IRCAM, Paris) and Barry Truax (Simon Fraser University, Vancouver). Thanks also to Paul Archbold (University of Huddersfield) for help in drawing the illustrations.