This study uses “instrumental” sounds, in discrete forms, like “bell” sounds, derived from saw-tooth waves, and the “double bass” pizzicato pitches at the end of the piece, derived from sine waves, including a vast range of percussive and plucking sounds. The tensions contain complex rhythms, great density of sound colour and the use of psychoacoustic effects. Relaxation is achieved when a certain degree of intensity is destroyed by being diluted into richer sounds with decrease of density and the appearance of more familiar sounds. The piece makes a very important use of “control”, everything is planned beforehand and at the composing stage there are means of changing each one of the integrating elements at any given moment (like a correction in a score), a mix of six channels coming from four synchronized tape recorders, each element having its exact entrance at a given point.
Source: CEC / Concordia Archival Project (CAP)
- Duration of the submitted work:
Allik, Austin, Bouchard, Calder, Crossman, Cumbo, Dal Farra, de Chevigny, Frenette, Garcia…171 tracks