In music, a cloud is a sound mass consisting of statistical clouds of hundreds or thousands of microsounds[1] and characterized first by the set of elements used in the texture, secondly density, the number of events within a time period.[2] Clouds may include ambiguity of rhythmic foreground and background or rhythmic hierarchy.
Clouds are created and used often in granular synthesis. Musical clouds exist on the "meso" or formaltime scale. Clouds allow for the interpenetration of sound masses first described by Edgard Varèse including smooth mutation (through crossfade), disintegration, and coalescence.[2]
Curtis Roads[2] suggests a taxonomy of cloud morphology based on atmospheric clouds: cumulus, stratocumulus, stratus, nimbostratus, and cirrus; as well as nebulae: dark or glowing, amorphus or ring-shaped, and constantly evolving.
Computer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering, and psychoacoustics. The field of computer music can trace its roots back to the origins of electronic music, and the first experiments and innovations with electronic instruments at the turn of the 20th century.
Funk is a music genre that originated in African-American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of various music genres that were popular among African-Americans in the mid-20th century. It deemphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a percussionist, often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. It uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, and dominant seventh chords with altered ninths and thirteenths.
Rhythm generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds ; to several minutes or hours, or, at the most extreme, even over many years.
In music, metre or meter refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer and expected by the listener.
A music sequencer is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.
Granular synthesis is a sound synthesis method that operates on the microsound time scale.
In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's Boléro and the Carol of the Bells, and popular songs such as John Lennon’s “Mind Games”(1973), Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), The Who's "Baba O'Riley" (1971), The Verve's "Bitter Sweet Symphony" (1997), and Flo Rida's "Low" (2007).
Glitch is a genre of electronic music that emerged in the 1990s which is distinguished by the deliberate use of glitch-based audio media and other sonic artifacts.
In music, montage or sound collage is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as Musique concrète. This is often done through the use of sampling, while some sound collages are produced by gluing together sectors of different vinyl records. Like its visual cousin, sound collage works may have a completely different effect than that of the component parts, even if the original parts are recognizable or from a single source. Audio collage was a feature of the audio art of John Cage, Fluxus, postmodern hip-hop and postconceptual digital art.
Programming is a form of music production and performance using electronic devices and computer software, such as sequencers and workstations or hardware synthesizers, sampler and sequencers, to generate sounds of musical instruments. These musical sounds are created through the use of music coding languages. There are many music coding languages of varying complexity. Music programming is also frequently used in modern pop and rock music from various regions of the world, and sometimes in jazz and contemporary classical music. It gained popularity in the 1950s and has been emerging ever since.
Atomic Mouse is a talking animal superhero created in 1953 by Al Fago for Charlton Comics.
Curtis Roads is an American composer, author and computer programmer. He composes electronic and electroacoustic music, specializing in granular and pulsar synthesis.
Gérard Pape is a composer of electronic music, author, and Lacanian psychologist. He is a former student of David Winkler, George Cacioppo, William Albright, and George Balch Wilson. He became the director of Les Ateliers UPIC in 1991 and in 2015 authored a French-English bi-lingual book Musipoesc: Writings About Music that was published by Éditions Michel de Maule. Pape has lived and worked in France since the early 1990s.
In music a time point or timepoint is "an instant, analogous to a geometrical point in space". Because it has no duration, it literally cannot be heard, but it may be used to represent "the point of initiation of a single pitch, the repetition of a pitch, or a pitch simultaneity", therefore the beginning of a sound, rather than its duration. It may also designate the release of a note or the point within a note at which something changes. Other terms often used in music theory and analysis are attack point and starting point. Milton Babbitt calls the distance from one time point, attack, or starting point to the next a time-point interval, independent of the durations of the sounding notes which may be either shorter than the time-point interval, or longer. Charles Wuorinen shortens this expression to just time interval. Other writers use the terms attack interval, or, interval of entry, interval of entrance, or starting interval.
Horacio Vaggione is an Argentinian composer of electroacoustic and instrumental music who specializes in micromontage, granular synthesis, and microsound and whose pieces are often scored for performers and computers.
In musique concrete and electronic music theory the term sound object is used to refer to a primary unit of sonic material and often specifically refers to recorded sound rather than written music using manuscript or a score. It was coined by Pierre Schaeffer in his publication Traité des objets musicaux (1966).
Totalism is a style of art music that arose in the 1980s and 1990s as a response to minimalism. It paralleled postminimalism but involved a younger generation of creators, born in the 1950s. This term, invented by writer and composer Kyle Gann, has not been adopted by contemporary musicology and generally still refers only to Gann's use of it in his writings. It is also used to refer to a radically economically left and authoritarian political ideology in the fictional Hearts of Iron IV mod "Kaiserreich", although the two are unrelated.
Concret PH (1958) is a musique concrète piece by Iannis Xenakis, originally created for the Philips Pavilion at the 1958 Brussels World's Fair and heard as audiences entered and exited the building. Edgard Varèse's Poème électronique was played once they were inside the building.
A duration row or duration series is an ordering of a set of durations, in analogy with the tone row or twelve-tone set.
nscor is a 1980 electronic composition by Curtis Roads. The piece is built upon multiple synthesis methods and was composed at different studios during a period of five years. It was included on the 1986 compilation album New Computer Music released by WERGO, and the inclusion of the piece on the album was generally positively received by critics.
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