| Jozef Malovec | 
|
EXPLANATION
1965–1970
This piece combines — in an astonishingly convincing manner, given the year in which it was composed — concrete sound sources with synthetic sounds. Also encountered are classic techniques of the era, including filtering, the addition of reverberation, change of speed, etc.
It was a long and arduous process to realize a piece of this nature. Integrated synthesizers did not yet exist, so each of the modules had to be patched (connected) and controlled one by one. Dubbing on tape was a somewhat unpredictable affair because the equipment at the time could not be synchronized. One or two generations of recording was more or less the limit, after which there was great risk that important levels of tape hiss and distortion would result. To achieve this level of musical complexity and still preserve a minimum level of transparency the composer would have to possess significant technical and compositional skills.
It should be noted that it was quite common at the time — in those European studios run by radio stations — that one or more technical assistants would have been made available to assist the composer. For this piece, it is very likely that the technician(s) would have been fairly actively involved in the elaboration of the sound materials.
COMPOSER'S NOTES
This is an analog and mixed composition, the first one ever made in the Electroacoustic Studio Czechoslovak of Radio Bratislava. Synthetically generated sounds from classical and laboratory generators, processed through filters and equalizers of the sixties were employed exclusively here. Speed transposition and apparatuses for creation of short sonic figures were used as a means of composition.
1965–1970
This piece combines — in an astonishingly convincing manner, given the year in which it was composed — concrete sound sources with synthetic sounds. Also encountered are classic techniques of the era, including filtering, the addition of reverberation, change of speed, etc.
It was a long and arduous process to realize a piece of this nature. Integrated synthesizers did not yet exist, so each of the modules had to be patched (connected) and controlled one by one. Dubbing on tape was a somewhat unpredictable affair because the equipment at the time could not be synchronized. One or two generations of recording was more or less the limit, after which there was great risk that important levels of tape hiss and distortion would result. To achieve this level of musical complexity and still preserve a minimum level of transparency the composer would have to possess significant technical and compositional skills.
It should be noted that it was quite common at the time — in those European studios run by radio stations — that one or more technical assistants would have been made available to assist the composer. For this piece, it is very likely that the technician(s) would have been fairly actively involved in the elaboration of the sound materials.
COMPOSER'S NOTES
This is an analog and mixed composition, the first one ever made in the Electroacoustic Studio Czechoslovak of Radio Bratislava. Synthetically generated sounds from classical and laboratory generators, processed through filters and equalizers of the sixties were employed exclusively here. Speed transposition and apparatuses for creation of short sonic figures were used as a means of composition.