Sound Source

Sound Production and Manipulation [SPM]  ]

This term is generally associated with ’classical’ electroacoustic composition that privileges the notion of ’material’, which is investigated and developed during the compositional process in the studio. In this context Sound Source simply refers to the physical provenance of such material, for example a vibrating body recorded in the studio, an environmental recording, or a synthesiser output. It can also refer to the basic structuring units in a given compositional conception or strategy, for example sonic grains or vowels and consonants extracted from speech.


See also:

Sound Event, Sound Object



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Alphabetical order - Chronological order

Dahlhaus, Carl (1974). Ästhetische Probleme der elektronischen Musik (Aesthetic problems related to electronic music)
Fujii, Koichi (2004). Chronology of Early Electroacoustic Music in Japan: What types of source materials are available?
Holm-Hudson, Kevin (1996). John Oswald’s {Rubaiyat (Elektrax)} and the Politics of Recombinant Do-Re-Mi
Hoopen, Christiane ten (1994b). The music of François Bayle from one listener’s point of view: re-presentation versus representation
Mion, Philippe, Nattiez, Jean-Jacques, Thomas, Jean-Christophe (1982). L’envers d’une œuvre. {De Natura Sonorum} de Bernard Parmegiani
Palombini, Carlos (1993). Pierre Schaeffer, 1953: towards an Experimental Music
Palombini, Carlos (1993a). Pierre Schaeffer: from Research into Noises to Experimental Music
Palombini, Carlos (1993b). Pierre Schaeffer’s Typo-Morphology of Sonic Objects
Palombini, Carlos (2002). Musique Concrète Revisited
Truax, Barry (1996c). Sounds and Sources in {Powers of Two}: Towards a contemporary myth
Wyse, Lonce (2003). Free Music and the Discipline of Sound




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