| Titre en anglais : | ->Thrill<- 1 |
| Année de composition : | 1998 |
| Durée : | 9min |
| Instrumentation (fr) : | bande 4 pistes |
| Instrumentation (en) : | 4-track tape |
| Notice (fr) : | Thrill est une étrange musique concrète. Toutes ses sonorités proviennent de synthèse par modèle physique. Ainsi d’un côté ces sons sont synthétisés par une machine alors que d’une autre côté, les modèles physiques se comportent comme tout le reste dans le monde en se conformant aux lois de Newton. Tous les sons doivent être considérés comme «naturels» et puisqu’ils sont émis par un haut-parleur ils sont en même temps réels et artificiels. Cette œuvre est une commande du Centre of Art and Media Technology Karlsruhe (ZKM) |
| Notice (en) : | Thrill is a strange kind of Musique Concrete: All of its sounds are created with physical models. So on one hand synthesized by a machine but on the other hand the physical models act as well as every existing thing on the world following Newton’s Laws. All the sounds should be considered to be true “natural” and since they sound out of the speaker they are as well real - but artificial in the same moment. It is audible that the sounds have references to real existing sound phenomena. Some sounds like metal, or like a piece wood hit with a hard stick. Some sounds create as well a visual image. The sound system which is used to create the physical model sounds was “Genesis”, a graphical editor for single masses created by ACROE (Cadoz, Luciani, Florens). A short explanation might give an idea how these sounds were created: The models are programed via patches which create vibrating structures. These structures are animated to control and understand the energy flow of the vibrating structures. The movements of single masses are recorded into a file and normalized to serve as a soundfile. The patches are created out of single masses and can be combined in an intuitive way. The masses are connected to each other via links. Masses have to be attached to fixed points. A simple vibrating structure can be understood as a guitar string with fixed attachments at both sides of the string. The string is represented by a chain of single masses. If one mass is displaced, like plugging the string, the energy of the displacement would be distributed over the whole chain of masses until it develops resonances dependent of the length of the string. The movement of 2 of these masses are then written into a soundfile and sent to the speaker. The resulting sound were further modified especially with granular synthesis stretching, convolution reverb (convolving impulse responses of existing concert halls onto the sound), several delay line techniques, dynamic curves of the sound between the speaker and some other techniques. Then algorithmic structures were applied onto the sounds which basically rely onto harmonic relation of repetitive rhythms and pitches. All of the sounds were directly calculated into a 4 channel sound format so that the space information is very complex and the 4 channel mix does not contain several stereo sources. As well a modified quote of a motive of Skriabin Etude is included. All the software used, except Genesis, were free Software from William Schottstaedt (CommonLispMusic and Snd) and Heinrich Taube (Common Music). This piece was commissioned by the Centre of Art and Media Technology Karlsruhe (ZKM). |
| Rédacteur (fr) : | [source: reseauxconcerts.com] |
| Rédacteur (en) : | [source: reseauxconcerts.com] |
| Exécution : | 22047 |
| Nom | Part | Fonction | Id éditeur | Genre |
| Ludger Brümmer | 100% | Compositeur | M |