 |
GUIDED LISTENING TOUR |
||
|
 INTRODUCTION PEDAGOGICAL OBJECTIVES |
BACK |
|
|
|
|
|
 |
 |
RECORDED SOUND | |
| Definition | |||
Initially developed in the film, radio and phonographic production industries, the recording of sound is the one of the foundations of electroacoustics. It is often the first step a composer will make in the creation of a new work. One or more microphones are used, depending on how the composer ultimately intends to use the recordings. From a well-executed recording it is possible to extract extremely rich sound materials, sometimes without any intervention (editing, EQ, etc.). Here it should be remembered that the way the microphone “hears” is undiscriminating (unlike the human ear) and therefore at once deforms and structures that which it records. This has led to the development of a common working method amongst such renowned composers as Michel Chion, François Bayle and Luc Ferrari that is fundamentally different from that of soundscape composers. |
|||
 |
Definition |
 |
Audio Examples |
 |
Complementary Listening List |
|
