- City Research Online

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 (Unpublished Doctoral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(Unpublished Doctoral thesis, City University London)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