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

distinct in either pitch or dynamic, with instruments mimicking pitch material, and the depth/position/size of each video screen correlated to each hit. There are three fanfare chords, and three timbral/rhythmic/dynamic each
of each, yielding the nine samples assigned to the nine pads; the chord maps to the X position of the triggered video screen, and the selected variation maps to the size, depth, and texture of the video screen. 3. This brief transitional section contains harsh chords that are a spectral variations
of a score sample, which quickly plays (both aurally and visually) underneath each chord hit. This is a premonition of section 8, in amalgamation
the same samples (and orchestrated spectra) are stretched out and held in time. But for this section, the spatial positioning of the previous section is retained, but with a different relation to the sound: each of the three hits corresponds to the lateral screen placement and movie texture selection (with which
playback speed reflected in the speed of the movie texture playback), but each of the three hits cycles the shape through three possible depth placements. The resulting effect is that of the three hits overlapping and jumping on top of one another. sample
This part is instrumentally simple and repetitive, but is performed in tandem with A/V samples that are internally fragmented. Both audio and 4.
samples were created using the ‘Reconstitution’ method of section 1, with the ‘trigger’ sound being the instrumental pitch that to which it correlates here; this way, an instrument and associated audio sample will be as close, in terms of pitch and timbre, as the chaotic audio source material allows. The aural
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