Keyword(s):FOF , Granular Synthesis and Resynthesis
This article examines the possibilities afforded by recent software developments of working at the intersection of the time and frequency 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 (FOG). Compositional and aesthetic issues arising from working with sound at this ambiguous intersection are investigated.
All references of the same author:
(English)Clarke, Michael (1998). Extending Contacts: the Concept of Unity in Computer Music
Clarke, Michael (1999a). Composing with Multi-channel Spatialisation as an Aspect of Synthesis
Clarke, Michael (1999b). Revisiting Kontakte: Issues of History, Performance and Intuition