Granular Synthesis and Resynthesis

Sound Production and Manipulation [SPM]  >  Synthesis and Resynthesis Techniques  ]

Granular Synthesis draws on the principle of amplitude synthesis (since a sound demands the addition of perhaps thousands of grains) and also offers possibilities for sound transformation. In addition to the direct synthesis of grains, acoustic sounds can be ’granulated’, and the parameters of pitch and time then separated as in phase vocoding. One of the first composers to use the technique was the American Curtis Roads, who in the course of a series of experiments starting in 1975 composed several pieces using the technique either in part or, in the case of ’Prototype’ (1975), throughout. More recent research by Barry Truax has concentrated on methods of controlling granular synthesis in real time. (Source - Richard Dobson (1992). A Dictionary of Electronic and Computer Music Technology. Oxford University Press.)

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Borin, Gianpaolo, Poli, Giovanni De, Sarti, Augusto (1997). Musical Signal Synthesis
Brümmer, Ludger (1999). Physikalische Modelle im musikalischen Kontext
Clarke, Michael (1996). Composing at the Intersection of Time and Frequency
DI SCIPIO, Agostino (1991). Caos deterministico, composizione e sintesi del suono (Deterministic chaos, composition and souns synthesis)
Di Scipio, Agostino (1994b). Micro-time Sonic Design and Timbre Formation
Di Scipio, Agostino (1996). Interactive Composing with Granular Time-shifting of Sound
Di Scipio, Agostino (1997). The Problem of 2nd-order Sonorities in Xenakis’ Electroacoustic Music
Di Scipio, Agostino (2001a). Clarification on Xenakis: The Cybernetics of Stochastic Music
Di Scipio, Agostino (2002b). Systems of Embers, Dust, and Clouds: Observations after Xenakis and Brün
Fells, Nick (1999). {Kendhang}, {Or} and {Vug}: Three works for performer and live computer system
Flety, Emmanuel, Serra, Marie-Hélène (1998). Utilisation récentes de capteurs gestuels en création musicale à l’IRCAM
Iwatake, Toru (1994). An Interview with Barry Truax
Küpper, Leo (2000). Le temps audio-numérique
Lanzalone, Silvia (2000). Hidden Grids: Paths of expressive gesture between instruments, music and dance
Lippe, Cort (1994). Real-time Granular Sampling Using the IRCAM Signal Processing Workstation
Miranda, Eduardo Reck (1998). The Role of Speech Synthesis in {Requiem per un veu perdida}
Miranda, Eduardo Reck, Correa, James, Wright, Joe (2000). Categorising Complex Dynamic Sounds
Pottier, Laurent (2003). {Straps} : pièce d’Eryck Abecassis pour ensemble et électronique en concert
Roads, Curtis (1988b). Introduction to Granular Synthesis
Solomos, Makis (2005). An Introduction to Horacio Vaggione’s Musical and Theoretical Thought
Truax, Barry (1990). Composing with Real-time Granular Sound
Truax, Barry (1992a). Electroacoustic Music and the Soundscape: The Inner and Outer World
Truax, Barry (1995a). The Composition of Environmental Sound at Simon Fraser University
Truax, Barry (1995b). La composition basée sur le timbre avec son granulaire
Truax, Barry (1996b). Soundscape, Acoustic Communication and Environmental Sound Composition
Vaggione, Horacio (1996b). Articulating Microtime
Vaggione, Horacio (2005). Notes on {Atem}

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