Abstract
What exactly is the relationship between notation and the music we hear? How has this relationship been affected by the development of first analogue and then digital recording of sound during the present century? This article looks at these issues from the point of view of a composer working with both traditional and unconventional notation and with recorded sound in the electronic music studio. The arguments present a very much condensed and simplified version of a discussion presented in the author's recently published book On Sonic Art.
Publisher
Cambridge University Press (CUP)
Reference7 articles.
1. Helmholtz H. (1954) On the Sensation of Tone. Dover. A discussion of Helmholtz' acoustic theories may be found in any elementary textbook on musical acoustics. This is an English version of the source.
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2 articles.
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