URL: http://www.mitpressjournals.org/loi/comj

Language(s): English

Keyword(s):

Modes of Listening ,  Perception ,  Psychoacoustics

Abstract:

The construction of a comprehensive theory of orchestration adequate to deal with computer music has so far been hampered two main factors: the enormous variety in the sounds available, and the exponential rate at which audio and computer technology has been developing. In this article, the author outlines a theory of orchestration based on the relationship between sounds and their musical/temporal context that circumvents these problems. The theory makes possible some useful generalisations that the author believes will not become obsolete with the next generation of synthesisers.