- General information
-
Composition date:
2003 - 2004
- Duration: 9 mn 40 s
- Publisher: Inédit
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Composition date:
2003 - 2004
- Type
- Electronic music / fixed media / mechanical musical instruments [Electronic music / fixed media / mechanical musical instruments]
Premiere information
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Date:
21 September 2005
Location:Portugal, Lisbonnes, Auditorium du Centre de soutien social d’Oeiras, Festival Música Viva.
Information on the electronics
Electronic device: sons fixés sur support
Observations
Une version courte de la pièce a reçu un 2e prix au concours de musique électroacoustique et d’audiovisuel « Point de Repère » à Paris en 2005 et a été finaliste au 3e Concours international de miniatures électroacoustiques à Grenade (Espagne) en 2005.
Program note
The life of the piece began in York, England in August 2003, where most of the sound material recorded at the anechoic chamber at the University of York. A couple of months later I returned back to Greece after a long stay in England and I restarted to work on the material at my personal home studio. However, a new move stopped me again from its development. Finally, everything came together one year later during the summer of 2004 where the piece finished at the Mastering Studio of the Department of Music Technology and Acoustics in Rethimno, Crete.
Having the luxury to work without deadlines and on a non real-time environment I tried to refine and control the finniest sound detail. I tried to create a kind of virtuosity of the medium. The sound material, not easily recognized most of the time, undergoes a rather simple transformation in terms of sound processing using editing tools such as hard-limiting, maximizers, cut n paste, dynamic envelope changes, time stretches, and binaural spatialization.
Having the luxury to work without deadlines and on a non real-time environment I tried to refine and control the finniest sound detail. I tried to create a kind of virtuosity of the medium. The sound material, not easily recognized most of the time, undergoes a rather simple transformation in terms of sound processing using editing tools such as hard-limiting, maximizers, cut n paste, dynamic envelope changes, time stretches, and binaural spatialization.
Panayiotis Kokoras
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