Timbre and envelope are intricately related and are major determinants of how effective a sound event in music will be, whether in acoustic music or electroacoustic music. Since the sound events used in electroacoustic music often have little or no distinct pitch characteristics, traditional contrapuntal sequencing devices often may not generate identifiable or interesting variations, but other techniques, including models borrowed from rhetoric, can be used effectively.
I’ve composed works using electroacoustic technologies since 1963, and I want to share with you over the next several weeks some of my thoughts about the current state of the medium. Since I am trained as a Western classical composer, my comments will be from that perspective. 1. Structural Issues in Current Electroacoustic Music The […]
Jack Beeson was my teacher in graduate school and beyond. I could say much about his operatic compositions and how he helped me with mine. But right now, as he has just left us, I want to remember him and share with you a few of my experiences with him.