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More on Musical Expression in Tape Music Composition

Juan Reyes

CCRMA, Center for Computer Research in Music and Acoustics

June 5, 2002

Stanford University


In order to obtain meaningful artificial musical phrasing, not only parameterized synthesis of sound is needed in a tape music idealization but also the know and how a musical gesture is achieved with a particular emphasis in a sound model or a group or combinations of timbres. Traditionally tape music has consisted of very appealing and interesting sounds, nevertheless it might be that expressiveness has been left only to real time performance. With the advent of known compositional techniques like physical modeling of sounds (Smith et AL) and algorithmic composition (Cope, Windsor and Clarke, Todd, etc.), carefully crafted, gestures, articulations, sequences of pitches with instantaneous (to the sampling rate) changes in tempo and dynamics, can be rendered in a similar was as a real performer giving another dimension to a composition of tape music. In this talk two pieces will be compared: one with processed sounds and the other with a single characteristic timbre plus the synthesis of expression. The first piece has the interesting and appealing sound approach while the second one has as its goal ``manipulating'' different gestures and durations in a timeline.

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