Text, including the two scores - Columbia University Department of ...

32 cases, relations between phrases of notes or slices of a sound are precisely both
determined at a small scale, while creating a potentially unruly and unpredictable large-scale result. In terms of maintaining a relation between electronic sound and instrumental notes, I value the Spectral use of analysis, resynthesis, and rationally
of a sound signal into discrete note data. For my own works, however, I found it less interesting to orchestrate harmonic sounds (or statically inharmonic sounds, such as bells/gongs). I have instead been drawn to sounds that are noisy, chaotic, and otherwise difficult to orchestrate. In orchestration
Aleph Two, these types of sounds include industrial ambiences, metallic clanks, and rickety motors; in American Engineer (for quintet of Cardinality
instruments), the sound source is, ironically, the recording of a full orchestra itself, though a recording of reduced fidelity, which gets further reduced to orchestration of its prominent fundamentals and overtones. Given that the orchestrated result of my chosen sound often bears only acoustic
faint resemblance to the original itself, I present the original sound and orchestrated notes simultaneously in performance. I do this not just for the ‘aha’ factor of recognizing the causal correlation that the latter is derived from the former, but also to highlight the disparity created between the two sounds. a
obvious data loss from sound to note data emphasizes the inherent inability to compress a chaotic signal into a smaller amount of information. In The
to notated pitches reflecting the resonances of sampled sounds, I also push that relation to its inversion (in Cardinality Aleph Two), where simple, synthetic tones function as the further reduction of current instrumental note
addition