Microsound

Structure, Musical [Str]  >  Micro-level Structure  ]

With historical roots in the work of composer Iannis Xenakis, this term is currently strongly associated with the work of Curtis Roads. Broadly, the term refers to conceiving of and representing sound in terms of particles. These sounds fall within the domain that Roads calls the "micro time scale". He defines this scale as one that embraces transient audio phenomena, a broad class of sounds that extends from the threshold of timbre perception (several hundred microseconds) up to the duration of short sound objects (ca. 100 milliseconds). Roads has recently published a book entitled Microsound (Cambridge, MA: MIT Press, 2001).

 

See also:

Grain, Granular Music, Granular Synthesis and Resynthesis

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Cascone, Kim (2001). The Microsound Scene: An Interview with Kim Cascone
Di Scipio, Agostino (1994b). Micro-time Sonic Design and Timbre Formation
Roads, Curtis (1988b). Introduction to Granular Synthesis
Roads, Curtis (2001a). Microsound
Roads, Curtis (2005). The Art of Articulation: The Electroacoustic Music of Horacio Vaggione
Robindoré, Brigitte (2005). Forays into Uncharted Territories: An Interview with Curtis Roads
Sherburne, Philip (2001). 12k: Between two points
Solomos, Makis (2004). Xenakis’ Thought Through his Writings
Stuart, Caleb (2003). The Object of Performance: Aural Performativity in Contemporary Laptop Music
Sturm, Bob L. (2001). Composing for an Ensemble of Atoms: The metamorphosis of scientific experiment into music
Thomson, Phil (2004). Atoms and Errors: Towards a history and aesthetics of microsound
Truax, Barry (1995b). La composition basée sur le timbre avec son granulaire
Whitelaw, Mitchell (2003). Sound Particles and Microsonic Materialism
Xenakis, Iannis (1996). Determinacy and Indeterminacy

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