Evans, F.M. (1996). Aural image and the language of electroacoustic music. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Evans, F.M. (1996). Aural image and the language of electroacoustic music. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/8271/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. M) W) W) M) =I =I ml ml ml ,o Cl) r_j C-id CD 0 3 b-- -x1 0 "ö (0 Cl) 0 m 0 Cl) .5 m M, fromList Suite Franqots Evans, 1990. Contents' of This piece for tape was collated from electroacoustic for a dramatic f Ilm bg the student music written director Robin Mahony. The score uses electronic and 'real -world' manU . from the sound effects and dialogue itself. sounds, of the f Ilm Prominent among these are sounds accornpanýjing personifications of the four elements: Earth, Air, Fire and Water; a recording of a tubular bell to denote metal; a suck ing/gurgl Ing noise which colours the action of a'magic'remote control box with special imagined bTj the hero and recordings taken properties from a portable I 960's'Bush' turntable being records starting switched on, humming and turning, Is a central object in the and ending. The turntable f Ilm. Four sentences from the dialogue of the f Ilm are also used and developed. The suite Universitg was composed Electroacoustic Fron(; ols Evans. 9go. nov., I and produced Studios. at the City from ite 'L i Su C st of ontents' Fran(; ois Evans, 1990. notes for Diffusion: The accompanging score gives an approximate visual representation of the progress of the piece In time. Except for a fade-out at the end before the I 0-minute mark, few If are called for. anig, changes during diffusion In the score, the distance above or below the central time the approximate that sound tessitura axis represents In the piece occupies -the higher it is from the component line, the higher the perceived pitch and vice versa. Treble and bass clefs are also used to help denote the approximate register of the sound. The tape part on DAT Is preceded OdB test tone. bg a2 -rnlnute, Tape pcirt produced at the electroacoustic Universitg, London. Fran(; ois Evans. I KHz studios of CitU cm cz cm rLr- CL --1 )P; C:) -13 2: m N FA I 46 "I", U; m 00 m C3 m P3 C) Ell 6 6 4A C» m U) 0 CZ C/) 00 :0z m C/) z m 1111111 III III @(ill r-+ - -.; --.-_-. _7- -1 0. A) 73 CD U) 0 0 CO c -0 r-il CD -h "I 0 3 (D 2 m C2 :r ID C) 0) m ig 3 %4 vo h ... s2. IU) om :1 (D ro U) 1 cm C2 cm cm Co N cn 41, zr CA) CA) 400%,: ) 2L 1 K) cn lio 1, i10 I N cn ,Irn- CD 4 w ci 0 K<ý8 cm 4A 111% 'Al M ce4w4m 15 150 tri 4= C:) CA) JA T-0 46 cr ca imý Co - - wo. Vm cm c J2 x- I !*Prýo CM Pri 6- P !r r. Imm cn j ri "' 9 22 C? rj I ]Z: tr CC! I 7r cm C2 . *ý1. cm ý; fc= -10 "n n © m M (n 0 r--40 to =r ' Z*.. CD C) In rrl $A c3 m CD 4 z -. b co 9-0-+ (Am :T 6 cm cm Co d
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