Emmerson, Simon


Pentes: A Conversation with Denis Smalley

Diffusion. September 2001. London: Sonic Arts Network: 1-6.

Language(s): English


Discourse within Electroacoustic Music


In this article, an edited version of a transcription of a conversation, Denis Smalley discusses the formative listening experiences that took him into the electroacoustic domain, and the composition of his work Pentes (1974); including his techniques, approaches to material, and the role of pitch.

All references of the same author:


Emmerson, Simon (1976). Electronic Music in Education
Emmerson, Simon (1982). Analysis and the Composition of Electro-Acoustic Music
Emmerson, Simon (1986). The Relation of Language to Materials
Emmerson, Simon (1989). Composing Strategies and Pedagogy
Emmerson, Simon (1991). Interview with Jonathan Harvey
Emmerson, Simon (1994a). ‘Local/Field': Towards a Typology of Live Electroacoustic Music
Emmerson, Simon (1994b). 'Live' versus 'Real-time'
Emmerson, Simon (1995a). Analysis of Live Electronic Music
Emmerson, Simon (1995b). Electroacoustic Music: Aesthetic Situation and Perspectives
Emmerson, Simon (1996). Sentences for Soprano and Electronics: Towards a Poetics of Live Electronic Music
Emmerson, Simon (1998a). Acoustic/Electroacoustic: The Relationship with Instruments
Emmerson, Simon (1998b). Aural Landscape: Musical Space
Emmerson, Simon (2000a). Crossing Cultural Boundaries Through Technology?
Emmerson, Simon (2000b). ‘Losing Touch?': The Human Performer and Electronics
Emmerson, Simon (2000c). Time Regained
Emmerson, Simon (2001a). New Spaces/New Places: a Sound House for the performance of electroacoustic music and sonic art
Emmerson, Simon (2001b). From Dance to Dance: Distance and Digits
Emmerson, Simon (2001d). The Electroacoustic Harpsichord
Emmerson, Simon (2006). In what form can ‘live electronic music' live on?

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