"A soundscape is any collection of sounds, almost like a painting is a collection of visual attractions," says composer R. Murray Schafer. "When you listen carefully to the soundscape it becomes quite miraculous." David New's portrait of the renowned composer becomes a lesson unto itself, gracing viewers (and listeners) with a singular moment of interactive subjectivity. This film was produced for the 2009 Governor General's Performing Arts Award.
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nfb.ca/film/listen]
Interacting with Inner and Outer Sonic Complexity: from Microsound to Soundscape Composition (Barry Truax) from
VCMM on
Vimeo.
It is possible to think of the two extremes of the world of sound as the inner domain of microsound (less than 50 ms) where frequency and time are interdependent, and the external world of sonic complexity, namely the soundscape. In terms of sonic design, the computer is increasingly providing tools for dealing with each of these domains, such as granular synthesis and multi-channel soundscape composition. The models of interaction involved with the complexity of each of these domains are instructive, and will be presented with sound examples.
Barry Truax is a Professor at Simon Fraser University where he teaches courses in acoustic communication and electroacoustic music. He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with all aspects of sound and technology. As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works and those which combine tape with live performers or computer graphics. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France, a category open only to electroacoustic composers of 20 or more years experience.
"Sounds To Die For - Speaking The Language Of Horror Film Sound"
in discussion with Walter Murch, Gary Rydstrom, Michel Chion, Claude Letessier, Claudio Simonetti...
A fascinating behind the scenes look at the previously unexplored territory of horror film sound. Through in-depth analysis of sound in the films of Dario Argento and discussions with leading practitioners, this book explores our inherent relationship with sound; examining how and why specific sounds are chosen and utilised to express and manipulate human perception and emotion.
[read more:
flaithulach.co.uk]
