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Concept |
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Concept |
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What is FleX? |
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Implementation |
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In order to understand
FleX better, we will have to look into music in general first. |
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Presentation |
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We will base this on a
simple typology of archetypes. |
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Contribution |
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Then, a
multi-dimensional exploration of these archetypes will lead us to surprising
insights. |
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Basics |
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> |
Explains the origin and
the character of fundamental musical structures. |
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Introduces into the new
metrics FleX music is based on. |
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Background |
> |
Anthropology,
Psychology, Music History and Historical Forms, Interdisciplinary |
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Relations, and Anecdotes. |
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Applications |
> |
Use Cases and Forms,
Genres and Styles, Sound Trips, Hypersound Network, |
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Animated Sounds,
Freesound, Communication Pyramid, Technical Information. |
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Glossary |
> |
Most important terms of
FleX Music. |
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Basics |
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The FleX concept is
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Phenomenal |
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Original |
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Functional |
Attributive |
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Introduction |
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The FleX
music concept is phenomenal, original, and functional oriented, presenting a
net |
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of attributes
for deeper musical understanding. The following chapter handles the essential |
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components of
the concept in its most important aspects. |
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Phenomenal |
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First of all,
and this is really important, the FleX music concept is phenomenal
oriented. |
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What does it
mean? |
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We are
looking first into what happens to our senses when we are listening to music. |
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Then we are
trying to get a more systematic understanding. |
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Phenomenon |
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The following
are examples of four basic musical phenomenon FleX is built of. (Please visit |
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also other
examples of the Freesound Music collections to gain a more complete
experience.) |
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Figures |
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Layers |
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Events |
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Xpressions |
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Animated Sounds |
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Click graphic to |
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enter play mode. |
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Figures,
keeping a general attention level busy |
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Musical
structures dominated by permanent repetitive and rhythmical actions in order
to keep |
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the musical
flow going. These structures are highly 'communicative'. They allow other
structures |
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to dock on
while appearing as a constitutive background. |
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Layers,
allowing for concentration and meditation |
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Musical
structures of rather static nature or representing longer lasting processes.
They allow |
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to 'dive'
deeply into sound and sound complexes, experiencing mental space, and
creating |
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a kind of
emotional environment. Layers are not always present. |
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Events,
requiring sudden attention |
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Musical
actions of singular and individual character that occur rather arbitrary.
Their appearance |
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can be very
different and spans from fill-ins representing a kind of 'comment' till
important major |
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changes or
occurrences of the musical structure like special breaks, start of new
sections, etc. |
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Xpressions,
gaining highest overall focus of attention |
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Musical
structures leading the musical communication. Usually split in phrases, these
structures |
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are of
individual and expressive nature and most responsible for the 'message' of a
certain piece |
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of music.
Xpressions are almost always present. |
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Flexible Metrics |
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These
phenomenon are universal and not unique to FleX music. |
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However, |
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Musical
structures that are typical for FleX, appear with certain characteristics of
flexible metrics, |
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Unlike music
that is rasterized by an equi-distant tonal and rhythmical 'operating
system': |
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> |
Sound
sequences appear in variable frames lined up by multiple or modulated
metrics. |
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> |
Sound
sequences are not organized in static recurring loops based on a certain
meter. |
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> |
Sounds moving
through the full range of available frequencies creating dynamic harmonies. |
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> |
Sounds are
not restricted to placements within a set of 12 halftones. |
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> |
Sounds
appearing in any kind of sound transition. |
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> |
Sounds are not
bound by instrumental limitations. |
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> |
Sounds are
interconnected by an interactive environment providing flexible arrangements. |
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> |
Sounds are
not burned down to an unchangeable sequence of musical events. |
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Free Sounds |
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In one word -
with FleX, sounds are free: |
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> |
Free in its
choice - a melody can be made of interesting noises. |
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Free in their
parametric modulation - see flexible metrics above. |
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> |
Free available
- for everyone, everywhere. |
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> |
Free in their
combination - meeting in a continuous refreshment of their relationships. |
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Vision |
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With FleX you
take the advantage of experiencing common musical archetypes with the
most |
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progressive
sound design known today. The consideration of musical roots can lead and
influence |
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further sound
development while creating an environment for unexpected musical excitements. |
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Original |
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What are the
physical energies being behind the phenomenon we are talking about? |
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Physical Energies |
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Figures are
based on |
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Figures |
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> Frequent
Pulses. |
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Pulses are
created by sudden forceful actions onto material, like |
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strikes, or
beats. |
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Layers are
based on |
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Layers |
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> Lasting
Passages. |
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Passages are
an outcome of applying constant and uninterrupted |
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power onto
material, like wiping or striping (going along with the material). |
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Events are
based on |
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Events |
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> Effective
Placements. |
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Placements
are a result of unpredictable power of any kind that |
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causes a
change in the current sounding environment. |
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Xpressions are
based on |
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Xpressions |
> Xpiring
Phrases. |
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Phrases are
an outcome of any power derived from an expiration |
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potential
that encloses a big range of highly articulated actions. |
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Elementary Structure |
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The typical
elementary structure (morphemes) of the above appliances is: |
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Energy |
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Structure |
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Sound
Examples |
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Visualization |
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Pulse |
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Repetition |
Steps, heart
beat, water drops |
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Passage |
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Long Sound |
Traffic noise,
sound of an engine, rain |
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_____________ |
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Placement |
Vector |
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Glissando,
sudden fade-in, bell sound |
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Phrase |
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Fractal |
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Bird songs,
speech, creaking door |
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Time Structure |
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All elements
can be characterized by a certain time structure: |
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Energy |
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Duration |
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Estimation |
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Occurrence
Probability |
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Pulse |
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Very short |
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0s <> 2s |
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Almost
permanent |
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Phrase |
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Middle length |
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2s <> 8s |
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Very often |
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Passage |
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Long |
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8s <>
30s |
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Many times |
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Placement |
Short |
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0s <> 8s |
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Arbitrary |
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Summary |
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The FleX
concept considers physical origins being responsible for creating a basic
level |
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of musical
meaning, even in case, electronic sound generation or processing is being
used. |
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Functional |
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The
functional aspects of the FleX concept point to the main underlying
communicative |
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effects that
the basic phenomenon cause in us when we listen to music. |
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Main Functions |
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Xmission and
Integration |
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Figures |
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Repetitive
figures are most suitable to cause a physical resonance of our |
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body,
creating the ultimate desire to move along with the sounds. In the same |
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time, our
spirit is kept awake while continuously analyzing - even without knowing - |
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the ongoing
relations and comparisons presented by the play of figures. |
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As a result,
figures are creating a ground for transmission of musical information |
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that hardly
can be rejected and that transport other musical phenomenon, while |
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providing the
potential to integrate with them. |
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Enlarging
Experiences |
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Layers |
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Only if sound
events stay persistent for a certain period of time we are able |
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to grasp
their characteristics in greater depth. Layers provide the opportunity |
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to deep dive
into musical structures and to develop a true emotional |
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relationship
with them. |
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Like figures,
layers provide a kind of ongoing carrying functionality, while events |
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and
expressions provoke rather particular and more focused reactions. |
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Leaving the
Structure |
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Events |
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The primary
function of events is to evoke the highest awareness in relation to |
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what the
current musical situation provides. Events deliver the "greater
picture". |
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They are the
drivers for moving toward the exploration of further experiences. |
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A musical
structure that owns very few surprises will tend to cause very |
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conservative
and recurring behavior, while an overload of events cannot |
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keep the
inherent and optimum power of the surprising information due to |
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disorientation. |
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Focusing on
Messages |
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Xpressions |
The highest
density and degree of a joint emotional and intellectual feedback |
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is caused by
musical expressions. Without them, music is "playing"
(figures), |
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"sounding"
(layers), or "attracting" (events), but not "speaking"
nor "telling" |
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anything. |
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We are
following expressions as we follow some bodies' speech, and we are |
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responding
with a well developed sense of interest that resides between |
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a pole of
being bored (too much repetitions) and a pole of being overwhelmed |
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(too much
different information) - a sense that is of course very personal |
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and depends
on our own dynamic and individual hearing experiences. |
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Summary |
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The
functional aspects of the phenomenon are presented in a very roughly and
idealized |
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manner. In
order to explore them deeper along with the
whole set of the phenomenological |
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axioms and
their interdependencies, various methods can be provided: |
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> |
Topic maps
and spread sheets that show independencies and analogies (see next section) |
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> |
Exploration
of anthropological and psychological aspects (see next chapter
"Background") |
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> |
Analyzing
existing music (see next chapter "Background") |
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Mission |
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> |
The best of
all: Openly experiencing the music itself with all senses (FleX serving as a
tool) |
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Attributive |
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The following
table is an invitation for a deeper jump into the FleX typology. It shall
provide some |
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inspiration
helping to use the concept as a tool, while: |
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FleX as Tool |
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> |
presenting a
vast variety of attributes to describe music as is |
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> |
inviting you
to add or share your own typological attributes and views |
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> |
envisioning
an orientation for further development of new hearing experiences. |
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Further Resources |
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Some of the items
displayed in the table will be explored further in the following chapters |
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"Background"
and "Applications". For a better understanding of the used terms
you may also |
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visit the
"Glossary" at the end of this page, or the "FleX Cube"
(use link to the right). |
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>> |
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FleX Associations |
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The FleX
Associations Table |
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Category |
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F-Type |
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L-Type |
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E-Type |
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X-Type |
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Structure |
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Musical
phenomenon |
Figures |
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Layers |
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Events |
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Xpressions |
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Physical
origins |
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Frequent |
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Lasting |
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Effective |
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Xpiring |
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Pulses |
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Passages |
Placements |
Phrases |
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Typical
structure |
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Repetition |
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Long Sound |
Vector |
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Fractal |
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Typical
function |
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Xmission and |
Entering |
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Leaving the |
Focusing on |
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Integration |
Experiences |
Structure |
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Messages |
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Energetic
direction |
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Introverted |
Introverted |
Extroverted |
Extroverted |
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Basic
attention |
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Background |
Background |
Focus |
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Focus |
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Frames and
Events |
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Open |
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Closed |
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Isolated |
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Related |
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Frames |
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Frames |
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Events |
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Events |
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White =
Structure |
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Blue =
Function |
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View |
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Expansive |
Introspective |
Introspective |
Expansive |
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(Dominance) |
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Intellectual |
Emotional |
Intellectual |
Emotional |
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Composition |
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High Level Phenomenon |
Continuous |
Consistent |
Change of |
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Complete |
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Development |
Parameters |
Structure |
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Form |
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Structure generation |
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Generating |
Fusing |
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Interpreting |
Combining |
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Structure |
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Structure |
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Structure |
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Structure |
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Generation tools |
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Rules |
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Mixer |
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Filter |
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Plans |
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Generative
power |
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Generative |
Degenerative |
Degenerative |
Generative |
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Combinations
of 4 |
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Fused |
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Horizontal |
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Vertical |
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Horizontal |
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basic
structures |
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into one |
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Combination |
Combination |
Vertical |
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FLEXFL |
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X_________ |
X E |
L F |
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F FFFF |
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FLXEF |
|
E_________ |
X E |
L F |
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L E |
XX |
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FLEXELF |
L_________ |
X E |
L F |
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E X |
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XFLEXL |
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F_________ |
X E |
L F |
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X |
LL |
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Musical
Structure |
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Polyphony |
Homophony |
Heterophony |
Combinations |
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Basic musical
forms |
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Fractal |
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Song |
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Serial |
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Story |
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Music Theory |
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Classic forms |
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Fugue |
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Song |
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Variations |
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Sonata |
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Historic
epoch |
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Baroque |
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Romantic |
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Neo-Classic |
Classic |
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Traditional music terms |
Rhythm |
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Harmony |
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Fill-in |
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Melody |
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Typical
intervals |
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Steps |
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Repetition |
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Octave jump |
Quart jump |
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Play commands |
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Leggiero |
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Legato |
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Staccato |
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Marcato |
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Sound Theory |
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Sound
structures |
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Noise |
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Tone |
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Environment |
Spectra |
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Sound origins |
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Electronic |
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Vocal |
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Environmental |
Instrumental |
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Sound generation |
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Physical |
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Mechanical |
Sample |
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Composed |
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Modeling |
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Generation |
Recording |
Sound |
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Sound life
cycle |
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Spectra |
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Sustain |
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Side |
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Sound |
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Opening |
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Spectra |
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Noise |
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Attack |
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Modulations |
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Slid Beats |
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Slid Sound |
Slid
Structure |
Slid Pitches |
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Praxis |
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Instruments |
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Drums |
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Strings |
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Wind instr. |
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Voice |
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Instrumental
action |
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Striking |
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Bowing |
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Blowing |
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Singing |
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Combo |
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Drummer |
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Bass |
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Keyboarder |
Soloist |
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Presentations |
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Session |
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Recordings |
Exhibition |
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Performance |
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Contributor |
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Lecturer |
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Listener |
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Distributor |
|
Musician |
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Architecture
(Acoustics) |
Hall |
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Dome |
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Outside |
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Theater |
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Interdisciplinary |
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Architecture
(Style) |
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Gothic |
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Romanic |
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Baroque |
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Bauhaus |
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Fine Arts |
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Drawing |
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Painting |
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Collage |
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Sculpture |
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Literature |
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Roman |
|
Poetry |
|
Anecdotes |
Drama |
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Theater |
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Educational |
Tragedy |
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Comedy |
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Experimental |
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Grammar |
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Object |
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Subject |
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Attribute |
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Verb |
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Classic
temperaments |
Phlegmatic |
Melancholic |
Sanguine |
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Choleric |
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Progressive
attitude |
|
New wine |
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Old wine |
|
Old wine |
|
New wine |
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Old skin |
|
Old skin |
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New skin |
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New skin |
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Background |
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Anthropology |
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Psychology |
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Music History |
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Cross Links |
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Anthropology |
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A snapshot of
anthropologic musical roots can help to strengthen the view on musical |
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priorities and
essential resources of expression. |
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Ancient Music |
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Anthropologic
Roots |
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Primary Sources |
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Xpressions
and Figures represent most frequently executed actions of a human being: |
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1. |
Doing things
with hands, working. |
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2. |
Communicating
with voice, speaking. |
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Secondary Sources |
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Layers and
Events represent rather re-creational actions: |
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3. |
Keeping things
in place, meditating. |
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4. |
Exploring new
things, imitating, playing. |
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The following
video snip has been taken 2004 in San Francisco. It is a small recording |
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of original
Indian music and dance and shows once more the human root-case of |
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musical
structure: |
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Indian Music Example, |
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Video
snippet: |
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>> |
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San Francisco, 2004 |
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Audio
snippet: |
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>> |
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Click graphics to play |
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Animated
Sound: |
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>> |
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video |
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Geographical
location: |
>> |
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Freesound
location: |
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Ancient roots |
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Drumming (1)
and singing (2) may be the oldest musical expressions that originate from
those |
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basic human
actions as it can be seen from the above video clip. |
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Ancient sound
layers were produced through bowing, or sliding with the hands (3) while |
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blowing a
pipe (4) might have been one of the most amazing musical events of the
earliest days |
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of sound
discovery. |
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Summary |
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1. |
Action:
Rhythmical strokes, drumming |
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Source: Human
work experience, doing things |
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Body: Hands |
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FleX-Type:
Figures |
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2. |
Action:
Shouting and singing, telling a story |
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Source: Human
communication through voice |
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Body:
Breathing system |
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FleX-Type:
Xpressions |
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3. |
Action:
Generate sudden sounds with material, whistling |
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Source: Human
experiences based on exploring, playing, imitating |
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Body:
Breathing system |
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FleX-Type:
Events |
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4. |
Action:
Generate continuous sounds with material, bowing |
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Source: Human
mystification of lasting sounds |
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Body: Hands |
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FleX-Type:
Layers |
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Unity of Elements |
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The "FleX
Man" |
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Man breaking through |
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grid, Azrieli Center, |
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Tel Aviv, 2006 |
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Click image to enlarge |
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The
"FleX Man" symbolizes the unity of the four major musical areas as
described above: |
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"FleX Man" |
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\ |
F / |
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L |
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/ |
\ |
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_________e |
E |
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Description |
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> |
He needs
intellectual abilities (F symbolizes his head). |
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> |
He must feel
well in his stomach (L symbolizes his stomach). |
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> |
His arms and
legs, i.e. his extremities (X) must be well trained to be able to act. |
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> |
He needs
certain external devices and instruments to extend (E) his range, |
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like a surf
board. |
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Music Limitation Check |
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Now lets surf
into music: |
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Try to think
what happens if some of those elements are not enough developed or just |
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too big. You
may find musical examples that are too head oriented and too
intellectual, |
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or other
music that does not care at all about cleverness but insists to permanently |
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invoke
feelings, or music that just permanently runs and runs and runs, or another
music |
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which sounds
so strange and so far away that it completely looses its connection to the |
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body of the
FleX Man. |
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Self Check |
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Can you
identify those examples from your experience? |
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Which of the
FleX Man elements are exaggerated in your examples? |
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Secondly, the
mapping of musical types to certain body areas is of course not a 1:1 |
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relationship.
Build examples where it is crossed, for example, meditative singing |
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corresponding
to the Layer type. |
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Constitutive Areas |
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Anthropologic
Constitution of Musical Parameters |
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Beside the
fundamental conditions of music generation, there are a lot of physical human |
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conditions
that constitute music in its inner structure. Following a few examples: |
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> |
Feeling of
speed (fast, slow) is based on average heart beat (1 second). |
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> |
Feeling of
tone height (high, low) is based on human voice range. |
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> |
Distinguishing
rhythmical from tone frequencies is based on 16 Hz. |
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> |
Distinguishing
consonant from dissonant intervals is based on |
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degree of
periodical relation of frequencies. |
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Beside those
fundamental anthropologic features, musical structure must be explored |
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as a result
of different complex social and individual psychological conditions. |
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Psychology |
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"Four
Temperaments" |
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by an unknown artist |
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Musical Temperaments |
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Sanguine temperament, representing musical Event level |
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Click graphics or line |
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Choleric temperament, representing musical Xpression
level |
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to get explanation |
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Melancholic temperament, representing musical Layer level |
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Phlegmatic temperament, representing musical Figures
level |
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Cross Relations |
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Temperaments Chart |
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Show Cases |
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Application
Examples of Musical Temperaments |
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Anthropologic |
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1. |
Temperaments
of physical based music generation |
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> |
Striking -
Choleric, aggression (rhythm) |
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> |
Speaking -
Phlegmatic, communication (melody) |
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> |
Blowing -
Sanguine, imitation (effects) |
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> |
Bowing -
Melancholic, meditation (harmony) |
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Hierarchical |
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2. |
Multi-level
temperament appliance, for example |
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> |
Choleric
elements in melody |
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> |
Phlegmatic
elements in melody |
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> |
Sanguine
elements in melody |
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> |
Melancholic
elements in melody |
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Strength |
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3. |
Strong and
weak temperaments |
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> |
Choleric and
Phlegmatic is strong, constitutive, generic. |
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> |
Sanguine and
Melancholic is weak, relaxing, degenerative. |
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> |
Choleric and
Phlegmatic is cross-functional: |
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Choleric
generation of Figures creating Phlegmatic intellectuality. |
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Phlegmatic
generation of Phrases creating Choleric communication power. |
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> |
Sanguine and
Melancholic is self-contained: |
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Melancholic
generation of Layers creating Melancholic meditation. |
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Sanguine
generation of events creating Sanguine effects. |
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Fractal Oscillation |
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Strong and
weak temperaments need each other to create oscillating experiences, |
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i.e. they are
generating ongoing tension on a higher level through the generative |
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change of
tension and relaxation on lower levels (fractal relationships). |
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Didactics |
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4. |
Examples for
didactic projects based on a musical temperament theory |
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> |
Playing
composition (sonata) while continuously visualizing dominating |
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musical
temperaments even on various levels. |
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> |
Generating
music as a group of people with temperament based roles. |
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Music
History |
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A limited
view on European music history allows to map musical temperaments |
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to certain
mind sets during important musical epochs: |
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Mind Set Preferences |
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1. |
Phlegmatic
mind set of objectivism in Baroque epoch. |
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Baroque
counterpoint is highly intellectual and balanced. |
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Musical core
form: Fugue |
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2. |
Choleric mind
set of dramatic expression in Classic epoch. |
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Musical drama
creates the highest musical contrast potential. |
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Musical core
form: Sonata |
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3. |
Melancholic
mind set of introversion in Romantic epoch. |
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Recurring
musical structures as base for introspective experiences. |
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Musical core
form: Song |
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4. |
Sanguine mind
set of playing with distance in Neoclassicism epoch. |
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Musical
citations and references creating meta-musical meanings. |
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Musical core
form: Variation |
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Mind Set Hierarchy |
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All mind set
characteristics are always present in each of the epochs. |
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Beside the
clearly dominating preference, other elements are contributing |
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to the
required full set of experiences, determine for example: |
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> |
Role of each
of the core forms in each epoch (Beethoven and the fugue) |
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> |
Mentality of
the creator (Bach known as choleric, Mozart as sanguine) |
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> |
Constitution
of sonata form due to mind set contrasts (role of melancholic |
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subject
within the complete piece) = various mind sets on one level even |
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in parallel
within one musical period (accompanying structure and melody) |
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> |
Complete
analysis of hierarchical relationship of temperaments (song as |
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melancholic
form type with choleric base expression, cycle of songs |
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representing
sanguine type for variation = cycle on melancholic type of |
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songs) |
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The
hierarchical analysis of musical mind sets can be executed down to |
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simple
intervals: |
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> |
Quart =
Choleric (begin of 1st sonata for piano f Minor by Beethoven) |
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> |
Second =
Phlegmatic (begin of C Major fugue, Well tempered piano by Bach) |
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> |
Prime =
Melancholic (bass in C Major prelude, Well tempered piano by Bach) |
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> |
Octave =
Sanguine (begin of Variations D Major for piano by Kabalevsky) |
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Plans, Sketches ... |
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Analytical
Tools and Principles |
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FleX Music
Profile Tool |
> |
To be
developed: FleX scanning chart for musical pieces |
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Redundancy and Entropy |
>> |
Conditions for
individual sweet spots in music |
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Thermodynamic
Principle |
> |
A well-tempered music
should be envisioned as a well |
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balanced
unity of the four fundamental temperamental powers. |
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> |
There seems
to be a relationship between optimum redundancy |
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of a musical
structure and the degree of unity and balance of the |
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temperamental
powers. |
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> |
An optimum
musical structure should best manage the trade-off |
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of
availability (richness) and accessibility (perception) of musical |
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information. |
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Musical
Resonance |
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> |
Key for
understanding conditions of musical effectiveness and |
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communicative
potential |
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../../../wfo01r04.htm |
Wine and Skin Theory |
>> |
Interrelation
of content and media |
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> |
A reason for
periodic (rasterized) metrics and scales in |
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instrumental
music is the need to synchronize diverse players |
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> |
Do we need
those raster in electronically made music, or |
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do they
retain simply because of mind set resistance or |
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the challenge
to move to a new "flat", or "city", or
"planet"? |
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More Topics |
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>> |
Thoughts
about musical structure and electronic music |
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Outlook |
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Static and
Dynamic Metrics |
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During the
past hundreds of years, music has been stabilized in equi-distant rhythmical
and |
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tonal
intervals: |
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1. |
Beats are
mostly counted in 1-2-3-4, 1-2-3-4 schemes. |
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2. |
Tones are
split into 12 fixed positions within an octave. |
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However, due
to these basic limitations, musical styles are going to recycle more and
more. |
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Tomorrows
music might be more flexible. What, if: |
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1. |
Beats are
permanently sliding? |
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2. |
Tone intervals
are smoothly transformed? |
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3. |
Sound
transitions will win finally over instrumental limitations? |
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4. |
A song will
be the result of your interaction with a musical network, a unique sound
trip? |
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More ... |
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Cross
Links |
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Something is
mystic about the number 4. It is created out of two polarities. In a
multidimensional |
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system, the 4
ends may come over cross to create another overlapping pair of
polarities. |
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A lots of
polarities may interrelate in complex systems. |
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Theoretical Limitations |
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Music is a
very complex phenomenon. It is important to understand that any analytical
method |
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is limited
because of the high number of interrelated parameters that are relevant in
the real |
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existing
musical structure in addition to its dynamic nature (while you are analyzing,
it is |
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changing...).
Since each view comes with its own distortion, from the possible tools that
can be |
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chosen those
might be preferred that are especially suitable to help memorizing and |
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communicating
complex issues even to a broader audience. |
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FleX is an
attempt to concentrate on a few basic characteristics while still allowing
progressive |
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exploration -
not necessarily hindering or significantly distorting possible insights. But
it is |
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extremely
limited, and instead of tempting musical substitution (it is always nice to
sit in a café |
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and to talk),
it shall contribute to true musical generation and unmasking other theories
that |
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might
underestimate the most important human constituents of the musical substance. |
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Infotainment |
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Is Number 4
Magic? |
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The following
lists show how the number 4 is represented in musical and non-musical
contexts: |
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Number 4 in Music |
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> |
4/4-bar is
most used in music |
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> |
Diatonic
scales (minor, major) are built of tetra chords (4 element 1-1-1-1/2 as basic
unit) |
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> |
Full
developed classical Symphony has 4 movements (all of Beethoven's symphonies) |
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> |
A symphony
orchestra consists of four basic instrumental groups |
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(string, wind,
brass, and percussion instruments) |
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> |
4 voice
assembly most important in polyphonic and classical music |
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(soprano,
alto, tenor, basso; 4 voice fugue; string quartet; 4 old keys) |
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> |
4 forms of
counterpoint transformation: original, mirror, inversion, mirrored inversion |
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Anecdotic |
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> |
Organ play
with four extremities (two arms and two legs) |
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> |
BACH, CAGE
with four musical letters (see Hofstadter "Gödel, Escher, Bach") |
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> |
4 phases of
music historic life cycle of central European music |
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(Baroque,
Classics, Romantics, Neoclassic) |
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Number 4 elsewhere |
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> |
4 elements of
genetic code |
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> |
4 groups in
card games |
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(acorn, cross
= choleric, shell, checker = sanguine, heart = melancholic, green, leaf =
phlegmatic) |
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> |
4 seasons |
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(spring =
sanguine, summer = choleric, fall = melancholic, winter = phlegmatic) |
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> |
4 directions
(east, south, west, north) |
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> |
4 walls of a
standard room or a house |
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> |
4 corners of a
window or a door |
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> |
4 classical
temperaments (choleric, melancholic, sanguine, phlegmatic) |
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> |
4 wheels |
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> |
4 legs of a
table, chair, etc. |
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> |
4 legs of
higher animals |
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> |
4 ends of
cross symbol |
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Your turn |
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Find more.
Then find the same number of occurrences for 2 (should be possible), |
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3 (should be
more difficult), 5 (will be impossible?), 6 (will be less but a lot), 7 (will |
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be much less),
etc. |
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Analogue Structures |
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Principles of
Musical Grammar |
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To give an
example how musical grammar or syntax is operating and how it can |
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be compared
to other cognitive experiences, we can look how a certain musical |
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unit can be
replaced. The recognition of those basic relationships can be |
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considered as
"resonance": We feel something similar and logical about what |
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we are
listening to due to the structural homogeneity and similarity (music as
a |
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"language"
without specific meaning). |
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Example 1 |
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Replacement
principles of a given musical unit: |
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1. |
Replacement
through variation of unit (same length) |
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2. |
Replacement
through contrasting event (same length) |
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3. |
Replacement
through cut-out or extended unit |
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4. |
Replacement
through re-ordered elements of unit |
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Example 2 |
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Context
modulation |
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Exactly the
same musical event can cause different resonances within the listener |
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depending on
the context: |
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1. |
What is the
musical structure before? |
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2. |
Is there some
musical structure after that can mask the effect? |
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3. |
What are the
concurrent musical events? |
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4. |
Has the
listener experienced something alike or the same already? |
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Looking into
the FleX concept, the same musical event can transfer its meaning |
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from one type
to another during a listening process. In the beginning the event |
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might appear
as Event since it sounds for
the first time in a relative highly contrast |
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environment.
Through permanent repetition it gains the attention of figurative play |
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(for example
through side effects in the succession of itself). However the |
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continuation
lasts and therefore the figurative reception is diffusing while a |
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summarizing
reception of a Layer is
taking place. The same transformation can be |
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accelerated
if a second more informative string (Xpression) is appearing that |
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degrades the
former one rapid in its level of attention. |
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4 Temperaments |
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Musical
Examples |
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The classical
temperaments have been more than once subject for |
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musical
explorations. Which degree of matching characteristics would |
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you suggest
for the following pieces? |
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C. Nielsen |
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Carl Nielsen
- Symphony No. 2 op. 16 "The four temperaments" |
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(Source) |
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Allegro
colerico |
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Allegro
comodo e flemmatico |
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Andante
malinconico |
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Allegro
sanguineo |
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P. Hindemith |
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Paul
Hindemith - "The Four
Temperaments" for piano and string orchestra |
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(Source) |
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Theme |
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1st
Variation: Melancholic |
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2nd
Variation: Sanguine |
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3rd
Variation: Phlegmatic |
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4th
Variation: Choleric |
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Applications |
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Animated Sounds |
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Use Cases |
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Listening Spaces |
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Networking |
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Animated Sounds |
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Animated
Sounds are the basic tool to drive Freesound music and to promote |
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the FleX
style practically (see also phenotype example in the "Basics"
chapter |
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above). |
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Sound Animation |
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What are
Animated Sounds? |
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With the
introduction of "animated GIFs", images learned a simple way to
run, |
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presenting
some kind of a very small movie. Animated Sounds do something |
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similar in a
musical way. |
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Rather than
being previewed, downloaded, cut, and inserted in a sound editor, |
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Animated
Sounds can directly be assembled in a browser for continuous and |
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simultaneous
playing, linked in between web pages, or simply serve as an |
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additional
playground for home, studio, public, or DJ productions. |
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Sound Player |
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How does it
work? |
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A sound is
being embedded in an interactive sound player. This player |
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includes some
automated schedule that causes it to be played again and again. |
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While doing
so, basic parameters like start and end, fades, volume, and panorama |
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are
continuously changing, thus creating a sound stream in a lively and
animated |
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fashion. |
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More ... |
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Use
Cases |
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The FleX
concept can be basically used for two purposes - for the direct support |
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of musical
creation, and for reflection and education about music. |
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Music |
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FleX Music |
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FleX music can
be used to: |
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> |
Provide new
possibilities of musical playing experience |
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> |
Sound
installation in public environments |
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> |
Practical
musical education |
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> |
Concerts and
performances |
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> |
Distribution
of highlights through traditional and online channels |
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> |
Supporting
musical communities |
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> |
Providing live
effects for DJs |
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> |
Personal sound
trips |
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> |
Personal
creation of own FleX pieces to be distributed to friends |
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> |
Accompanying a
dance company's performance |
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and much more. |
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Sounds |
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FleX Sounds |
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A FleX
collection of Animated Sounds represents a large variety or synthesis of |
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application
aspects: |
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Presentation |
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> |
Musical
presentation (concert) |
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> |
Sound
installation |
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> |
Sound labor |
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> |
Educational
project |
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Musical
Resources |
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> |
Classical
music |
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> |
Pop music (4
standard levels, song forms) |
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> |
Freesound
(sound community) |
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> |
Electronic
music |
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Media |
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> |
Website
(Internet) |
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> |
Music box
(player) |
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> |
Sound library |
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> |
ASP
(Application Service Provision model) |
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Interactivity |
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> |
Musical
instrument |
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> |
Computer game |
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> |
Multi-media |
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> |
Music studio |
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Styles |
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FleX Styles |
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Target groups
demand for different music according to given listening |
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experiences.
FleX may suggest different types of sub-styles, for example: |
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Labmusic |
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> |
FleX music
with a high degree on experimental sounds including a |
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lots of
noises and other extreme sound material, strong processed |
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natural
sounds, etc. Labmusic may include form experiments as well. |
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> |
Lab: n.
laboratory, room or building fitted with equipment for scientific |
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experimentation.
(Babylon) |
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Pubmusic |
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> |
FleX music
with a strong orientation to physical and balanced sounds |
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as known from
common hearing experiences. The musical structure |
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itself is
more balanced and musical forms are rather simple and not |
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too
concentrated. |
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> |
Public: adj.
open to all people, freely accessible; pertaining to an |
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entire
population; general, universal; n. place that is accessible to the |
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general
population; population as a whole, populace; community, group |
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of people
with common interests or qualities. (Babylon) |
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Clubmusic |
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> |
FleX music
with a high degree of stylistic determination due to specific |
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utilization
purposes, for example, music for dance. The musical |
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structure is
very concentrated, sounds are advanced but balanced, |
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and the
musical forms are rather simple. |
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> |
Club: group
that meets periodically for a shared activity; |
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location for
social gatherings (Babylon) |
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Hubmusic |
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> |
FleX
music with the highest degree of
musical differentiation through an |
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optimum
balance of distinguished musical values. This music functions as |
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a hub for all
other musical styles, serving as an orientation for wise |
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information
reduction (Labmusic development path) or enrichment |
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(Pubmusic,
and Clubmusic development path), as applies. |
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> |
Hub: center
of a wheel into which the spokes are placed; |
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central point
around which other things revolve; center, focus; center of activity; |
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(Computers)
central part of a disk that is held by the drive in order to make |
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it turn at
the correct speed; (Computers) common point of connection for |
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devices in a
network (Babylon) |
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More ... |
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Theory |
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FleX Theory |
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The FleX concept may contribute to the following: |
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> |
Centripetal
power against complete fragmentation of musical views and concepts |
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> |
Detection of
one-sidedness in musical analysis |
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> |
Concentration
on basic areas of expressions regardless implementation |
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> |
Defining
consequences and priorities for suitable music generation systems |
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> |
Deepening
semantic insights into music relationships |
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> |
Ideas for
music therapy |
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> |
Ideas for
understanding drivers of music historic establishment of styles and epochs |
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> |
Defining
common denominators in most different music styles determined by various |
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ethnic and
social sources |
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and more. |
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Summary |
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FleX Abilities |
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Using FleX
principles for musical creation is the main aim of the FleX concept. |
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However,
using FleX principles for musical creation does not guarantee any good
result. |
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So what is the
value? |
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NOT
considering the FleX principles definitely increases the risk of failing
successful |
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musical
communication: FleX principles can serve as an important orientation tool on
the |
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way to great
new musical discoveries. |
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Listening Spaces |
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Each piece of
music demands a certain potential of attention - the listening space. |
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Categories |
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Categories of
Listening Spaces |
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Basic
categories of listening spaces are: |
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> |
Popular
Listening Spaces |
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> |
Expert
Listening Spaces |
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> |
"Pyramid"
Listening Spaces |
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The practical
place and the circumstances where music is listened to are related to
those |
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listening
spaces ("listening zones"). |
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Pyramid |
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The
"Listening Pyramid" |
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- |
Expert Listening |
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Hubmusic |
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- |
Music
Performer |
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Labmusic |
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"Pyramid"
Listening Space |
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- |
Music Fan |
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Clubmusic |
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- |
Popular
Listening |
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Pubmusic |
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Music that
complies to "Pyramid" listening spaces includes different listening
spaces |
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at once. |
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Having a
surface level of most robust recognition at the broad basis of the |
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communication
pyramid (see entry motif of Beethoven's Fifth Symphony), this |
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music
includes also deeper levels that span expert listening spaces, requiring |
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deep
knowledge and experience in order to recognize the intended information |
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(top of the pyramid). |
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Music with
"Pyramid" spaces tend to be highly adaptable to different
listening |
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communities,
and being capable to expose different levels of meaning during its |
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history of
perception. |
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Zones |
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Listening
Zones |
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Music can be
divided according to the following practical listening zones: |
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> |
Ambient Music |
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> |
Travel Music |
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> |
Home Music |
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> |
Music
Exhibition |
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A place with
a high potential of attention suites all kind of listening spaces |
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(Music
Exhibition) whereas places with lower potential fit music only that have |
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the
characteristics of the popular listening spaces. |
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Conditions |
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Listening
Conditions |
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Music can be
utilized for something other than music, or something other than music, |
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i.e., audio
environment and listening conditions can be utilized for musical
perception |
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as final
purpose. To deal with music as a self-contained piece of communication |
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requires a
minimum level in the listening space pyramid, and is characterized by |
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the following conditions: |
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> |
Listener's
readiness to continuously follow a musical stream for a certain period |
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of time |
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> |
Sufficient
level of quality of sound projection system and acoustical conditions |
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> |
Sufficient
dynamic range |
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> |
Sufficient
absence of acoustical disturbances |
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> |
Sufficient
absence of other media that drive attraction away from the musical |
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stream |
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Provided
these conditions, a listener's experience can be described as a "sound
trip". |
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Sound trip
experiences are not a matter of media but a matter of listening
behavior, |
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including
participation in instrumental concerts, as well as listening to audio
records, |
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sound
installations, electronic sound tracks, and more. |
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More ... |
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Networking |
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The
deployment of a FleX style depends in its entirety on the successful
management |
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of networking
structures as mandatory infra-structure, spanning from technical to
social |
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levels. |
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Technique |
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Technical
Network Conditions |
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FleX oriented
musical implementation may be realized through: |
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> |
Complete
unplugged acoustic sound generation environment |
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(this
requires highly qualified musicians = a true "FleX Combo" as acting |
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real-time
network) |
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> |
Network of
sound reproduction systems deployed in home, educational, and |
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public
environments |
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(this
infra-structure could be fed by conservative music recording = frozen |
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FleX, or
being connected to online environments for interactive and generative |
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sound
creation) |
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> |
Multi-media
environments (PC-based) that allow the direct interaction with |
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Freesound
Music deployments of Animated Sounds and Sound Pages |
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to be
available in home, educational and public environments |
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Online
real-time generation and interactive environments require a kind of ASP |
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(application
service provider) technology as demonstrated by the current |
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Macromedia
(Adobe) based implementations. |
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Musical Structure |
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Musical
Network Conditions |
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Further to
the interactive network conditions as described above, musical events |
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need to be
controlled through: |
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> |
Free
available Hypersound links, meaning that from any time position of |
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a given sound
defined links are available that represent a possible |
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continuation
of the musical stream. These links can be scheduled (automatic |
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generation
following determined or random values), or available for interaction |
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(actual
playing of and through links). |
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> |
The musical
structure must be free enough to allow the relatively free |
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placements of
the Hypersound links while keeping a relatively constant |
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level of
coherent musical quality. |
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> |
The
flexibility described above allows a continuous deviation from sound |
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relations
within given borders, leading to unique sound situations each time |
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a piece of
music is being presented (unlike recordings = frozen or downsampled |
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FleX). |
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> |
A critical
mass of given sounds and sound families (sound variations) must |
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be given to
allow successful growth of different musical scenarios. The |
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Freesound
community represents one of those growing resources. |
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Condensation |
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Sound
relationships within a piece of Freesound Music are network
relationships |
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created out
of a network of joint sound contributions. This process of joint sound |
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composition
can be considered as a kind of network condensation merging various |
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network
levels. |
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Communities |
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Social Network
Conditions |
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Successfully
implementation of FleX requires public education and awareness |
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through
networks like: |
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Distribution |
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> |
Promotional
networks. |
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> |
Educational
networks. |
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> |
User groups
and communities. |
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> |
Related
channels like public institutions with potential for advanced music |
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deployment. |
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Contribution |
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> |
Private
Sponsorship. |
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> |
Public
support. |
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> |
Joint honorary
work. |
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> |
Commercial
models in accordance with CC (Common Creative) licenses. |
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Glossary |
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A |
B |
C |
D |
E |
F |
G |
H |
I |
J |
K |
L |
M |
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N |
O |
P |
Q |
R |
S |
T |
U |
V |
W |
X |
Y |
Z |
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A |
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Animated Sounds |
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Rather than
being previewed, downloaded, cut, and inserted in a sound editor, Animated
Sounds |
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can directly
be assembled in a browser for continuous and simultaneous playing, linked in
between |
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web pages, or
simply serve as an additional playground for home, studio, public, or DJ
productions. |
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Choleric |
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Mind-set of
drama, practical attitude, strong and vivid emotional agility, eruptive
outbursts, strong |
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contrasts in
behavior, architectural building strength. |
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Wikipedia |
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Choleric
corresponds to the fluid of yellow bile, the season of summer (dry and hot),
and the element |
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of fire. A
person who is choleric is a doer and a leader. Many great charismatic,
military and political |
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figures were
cholerics. On the negative side, they are easily angered or bad tempered.
(Wikipedia) |
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Musical Form |
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The choleric
mind-set can be found in music in the "Story" (sonata-like) form,
concentrating |
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around
dramatic power and decisive forming competency. |
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Clubmusic |
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FleX music
with a high degree of stylistic determination due to specific |
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utilization
purposes, for example, music for dance. The musical |
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structure is
very concentrated, sounds are advanced but balanced, |
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and the
musical forms are rather simple. |
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Babylon |
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Club: group
that meets periodically for a shared activity; |
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location for
social gatherings |
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More ... |
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Communication |
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Multi-level
communication model that stands for the ability to simultaneously transfer
content |
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Pyramid |
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perceptible
by various degrees of education and pre-disposition. For example, Mozart can
be |
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easily
perceived on a surface level ("making some kind of sense") while
deeper artistic |
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meanings and
levels still perceptible by educated listeners. This model contradicts
communication |
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models that
explicitly dedicated to target groups, either from economical reasons
(wanting to |
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sell
"easy consumable" information) or from scientific or esoteric
reasons (wanting to differentiate |
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from common or
"flat" information). |
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More ... |
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Continuous |
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This is an
ability of Animated Sounds to interrupt and re-combine a sound stream at any
of its |
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Clipping |
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positions
without creating a "syntactical failure". This is not valid for
music streams that are |
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organized by
rasterized static rhythmical and tonal metrics (4/4 measurement, 12-tone
scale) since |
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they follow
strong syntactical preferences. |
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Sound streams
that are suitable for FleX are usually dynamic, i.e. they consist of a
process of |
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rhythmical,
tonal, sound, or other structural transition. Therefore, playing "on a
stream" by |
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Animated
Sounds invokes a process of playing on a complex "scale" (vector
room). |
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E |
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Effect |
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Musical event
that appears rather isolated in terms of context (differs a lot from
surrounding elements), |
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semantic
specialty (refers often to something in non-musical areas), and time
condition (appears as |
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surprise). |
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F |
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Figuration |
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Musical
structures dominated by permanent repetitive and rhythmical actions in order to |
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keep the
musical flow going. These structures are of organic nature and highly |
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'communicative'.
They allow other structures to dock on. |
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FleX |
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Stylistic
concept based on freed musical metrics, promoting four basic areas of musical |
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expressions:
rhythmic-continuous, melodic-phrase bound, layer-background, event-arbitrary. |
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Flexible Metrics |
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Metric
relations in music that are not equidistant but evolving in increasing,
decreasing, |
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stochastic,
or other metric orders, valid for rhythmical as well as for frequency
relations. |
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Form Types |
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The FleX
style owns 4 basic form paradigms which are called: |
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Form Paradigms |
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> |
Story |
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> |
Song |
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> |
Serial |
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> |
Fractal |
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These form
types have their origins in four classical form types which can be considered |
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as four main
manifestations of mind-sets as classified by the four classical temperaments: |
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References |
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> |
Sonata form
(Story) - Choleric mind-set |
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> |
Song form
(basic circular) - Melancholic mind-set |
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> |
Variation form
(Serial) - Sanguine mind-set |
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> |
Fugue form
(Fractal) - Phlegmatic mind-set |
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Generic Type |
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There are generic and
degeneracy form types. Generic form types are integrative, and |
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degenerative form types
are disintegrative. |
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> |
Stories
integrate various structural types on a vertical and form level |
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into one
piece with architectural relations spanning over the complete duration |
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= Generative form type |
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> |
Fractals
integrate various structural types on a linear and melodic level into |
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one
oscillating unified piece (non-breakable) |
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= Generative form type |
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> |
Songs do not
allow horizontal interaction between structure types and are |
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limited to
vertical interactions (melody layer interacting with rhythmical layer, |
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etc.) |
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= Degenerative form type |
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> |
Serials do
not allow vertical interaction between structure types and are limited |
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to horizontal
interactions (one variation interrelates to another one, the interaction |
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within a
variation is very limited since a variation is usually mono-structural |
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oriented) |
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= Degenerative form type |
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It is
important to understand that this mind-set mapping refers to the genotype of
the |
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form whereas
the phenotype might be totally different or being present in multiple cases. |
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More ... |
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Fractal |
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The term
fractal was coined in 1975 by Benoît Mandelbrot, from the Latin fractus, |
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meaning
"broken" or "fractured." In colloquial usage, it denotes
a shape that is |
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Wikipedia |
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recursively
constructed or self-similar, that is, a shape that appears similar at
all |
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scales of
magnification and is therefore often referred to as "infinitely
complex." |
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(Wikipedia) |
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Musical Structure |
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In FleX, the
term "fractal" is used to describe a generally broken structure
that is typical |
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for
speech-like and melody-like sequences. However, self-similar relations are
especially |
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apparent in
those structures. It is considered one of four basic material types in
musical |
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structures,
typical for "Xpressions". |
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FleX Form Type |
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In addition,
"Fractal" is used to describe a musical form that is an outcome of
interactive |
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linear
processes and compares to the classical form of a fugue. |
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Freesound |
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The Freesound
Project aims to create a huge collaborative database of audio snippets, |
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samples,
recordings, bleeps, ... released under the Creative Commons Sampling
Plus |
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License. The
Freesound Project provides new and interesting ways of accessing these |
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samples,
allowing users to |
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Freesound Activities |
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> |
browse the
sounds in new ways using keywords, a "sounds-like" type of
browsing |
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and more |
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> |
up and
download sounds to and from the database, under the same creative |
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commons
license |
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> |
interact with
fellow sound-artists! |
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(http://freesound.iua.upf.edu/whatIsFreesound.php) |
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Freesound |
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Freesound
Music is an implementation of the musical FleX style based on sounds that |
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Music |
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are provided
by the Freesound community and an interactive sound representation |
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and
interaction system that is driven by Animated Sounds. |
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Freesound |
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The Freesound
Music Portal is an online presentation of the Freesound Music project. |
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Music Portal |
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It is divided
into four areas: |
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Areas |
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> |
"Sound
Trips": Area of Freesound Music that presents music in interactive |
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"organized
trips" guiding through exciting landscapes of sound. |
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> |
"Sound
Scapes": Area of dedicated assemblies of Animated Sounds that can |
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make up sound
environments or evolve to Sound Trips of various kinds. |
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> |
"Sound
Pages": Area of complete sound catalogues provided with methods to |
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assemble
Animated Sounds into standard browser pages. |
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> |
"Sound
Café": Knowledge base around the Freesound Music project (this |
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document). |
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Round Trip |
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The Freesound
Music project can provide new insights and opportunities for musical |
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recognition
and creativity. The process of knowing and working with the project can |
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be described
as a "Round Trip": |
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> |
"Sound
Trips" to know the music, "Sound Scapes" to see how a Sound
Trip can |
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evolve,
"Sound Pages" to know what makes up a Sound Scape, and finally
the |
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"Sound
Café" that provides you with the conceptual background. |
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> |
The
"Sound Café" to teach you how to create your own "Sound
Pages", which will in |
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return
represent your own "Sound Scapes" to make up your own "Sound
Trips" and |
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to offer it to
your friends or to the public. |
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Navigation |
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More
... |
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Fugue |
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In music, a
fugue (IPA: [fjuːg]) is a type of contrapuntal composition. It begins
with a theme |
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stated by one
of the voices playing alone. A second voice then enters and plays the
same |
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Wikipedia |
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theme, while
the first voice continues on with a contrapuntal accompaniment. The
remaining |
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voices enter
one by one, each beginning by stating the same theme. The remainder of
the |
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fugue
develops the material further using all of the voices and, usually, multiple
statements |
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of the theme.
The word fugue comes from the Latin fuga (flight) and fugere (to flee). |
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(Wikipedia) |
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FleX Form Type |
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The FleX
concept reflects the fugue form as one of four basic form types, representing
the |
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highest
degree of polyphonic density and musical linear power. Fugues have their
original |
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drivers in
horizontal interactive development (unlike in a sonata form, the invention of
the |
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continuation
always depends directly from the preceding development) and rely completely |
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on melodic
linearity. The melodic development is very often fractionalized, meaning that
the |
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fugue theme
is split into units which are used in different lengths throughout the piece. |
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H |
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HSML |
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Hypersound
Markup Language - Conceptual equivalent to HTML (Hypertext Markup Language), |
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see also
"Hypersound". |
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Hubmusic |
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FleX
music with the highest degree of
musical differentiation through an |
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optimum
balance of distinguished musical values. This music functions as |
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a hub for all
other musical styles, serving as an orientation for wise |
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information
reduction (Labmusic development path) or enrichment |
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(Pubmusic,
and Clubmusic development path), as applies. |
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Babylon |
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Hub: center
of a wheel into which the spokes are placed; |
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central point
around which other things revolve; center, focus; center of activity; |
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(Computers)
central part of a disk that is held by the drive in order to make |
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it turn at
the correct speed; (Computers) common point of connection for |
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devices in a
network |
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More ... |
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Hypersound |
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Hypersound is
the concept of linking sound media (audio streams) in a way like text
chunks |
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are linked in
Hypertext. Unlike text streams that are usually presented in static
pages, |
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Hypersound
links are working in a real time sound streaming environment. |
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I |
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Interactive
Music |
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Basically
every musical play is interactive by definition. However, with computer-aided |
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music
environments, playing rules and possibilities can reach fundamentally
new |
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levels of
design. |
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Freesound
Music can be defined as an outcome of computer-aided interactive music |
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utilizing
free sounds and sound relationships. The Freesound Music implementation |
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allows
currently basically four levels of musical interactivity. Two are periphere
(1 and 4), |
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two are
inherent (2 and 3): |
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1. |
Passive
Reception |
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Final results
are still presentable in classical forms of electronic media (CD, website |
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playlist,
etc.). |
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>> |
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2. |
Entry Level |
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The system
provides basically two different kinds of entry level for users: |
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a) |
Sound Page
creation through the FleX Publisher |
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Users can
open the Workbench, select sounds of their choice and assemble |
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them
automatically into playable groups that will appear in personal Sound |
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Pages. |
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>> |
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b) |
Sound Path
creation through the FleX Recorder |
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Users can
navigate more complex assemblies of sounds (pre-composed |
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environments),
record them and exchange them with other participants of the |
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system. |
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>> |
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3. |
Advanced Level |
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Advanced
users can built virtual sound pages (free selected sound assemblies) and |
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complex
navigation based on them to create advanced pieces of interactive music, |
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such as
complete jam sessions, and more. |
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>> |
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4. |
Expert Level |
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The Freesound
Music implementation is basically intended as an open system. |
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Although the
technology does not allow common source development, all resources |
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are provided
upon request to allow interested people or organizations to re-purpose |
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or re-build
modules or any other parts or ideas of the system. |
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>> |
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Babylon |
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Interactivity:
n. reciprocal activity, cooperation; direct link between a computer and
user |
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when the
computer poses questions and operates according to the user's instructions. |
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L |
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Labmusic |
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FleX music
with a high degree on experimental sounds including a |
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lots of
noises and other extreme sound material, strong processed |
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natural
sounds, etc. Labmusic may include form experiments as well. |
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Babylon |
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Lab: n.
laboratory, room or building fitted with equipment for scientific |
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experimentation. |
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More ... |
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Layer |
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Musical
structures of rather static
or long lasting nature that allow to "dive" deeply into |
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sound, to
experience mental space, and to gain a kind of emotional background. |
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These
structures (large fields, sounds) may occur arbitrary. |
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M |
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Material
Types |
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In FleX, four
basic material types can be detected when related to the main phenotypes: |
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> |
Repetition
-> Figures |
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> |
Long lasting
sound -> Layers |
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> |
Vector ->
Events |
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> |
Fractal ->
Xpressions |
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Material can
be categorized according to its 'aggregation' temperature which is related |
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to its degree
of redundancy: |
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Aggregation |
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Memorizable |
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Redundancy |
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Element
structure |
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SOLID |
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Very high |
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Very high |
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Static
intervals |
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FLUID |
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Medium |
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Medium |
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Bend intervals |
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GAS |
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Very low |
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Very low |
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Entropic
distribution |
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Fluid materials are
typical for a FleX music style. |
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Melancholic |
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Mind-set of
thoughtful pondering, meditation, internalization, spiritualization, low
motion, |
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emotional
exploration, and atmospheric competency. |
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Wikipedia |
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Melancholic
is the personality of an individual characterized by black bile; hence (Greek
μελας, |
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melas,
"black", + χολη, kholé, "bile"); a
person who was a thoughtful ponderer had a melancholic |
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disposition.
Often very kind and considerate, melancholics can be highly creative - as in
poets |
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and artists -
but also can become overly obsessed on the tragedy and cruelty in the world,
thus |
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becoming
depressed. It also indicates the season of autumn (dry and cold) and the
element of |
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earth. A
melancholy is also often a perfectionist, being very particular about what
they want and |
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how they want
it in some cases. This often results in being unsatisfied with one's own
artistic or |
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creative
works, always pointing out to themselves what could and should be improved. |
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(Wikipedia) |
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FleX Form Type |
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Musically,
the melancholic mind-set fits best to song forms, concentrating on a certain
state that |
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is being
deeply explored. |
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Mentality |
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Mentality can
be described as intellectual character, frame of mind, mental capacity.
(Babylon) |
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O |
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Operating |
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Modern
general-purpose computers, including personal computers and mainframes, have
an |
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System |
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operating
system to run other programs, such as application software. Examples of
operating |
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systems for
personal computers include Microsoft Windows, Linux, Mac OS (Darwin), and
Unix. |
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Wikipedia |
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(Wikipedia) |
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FleX Structure |
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In music, an
"operating system" can be described as the entirety of rules that
constitute |
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a certain
systematic potential of combinations, the "paradigm" of a musical
style or a musical |
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historical
period. Of course an "operating system" in music is dynamic but
nevertheless |
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limited and
having usually a life-cycle which expires as soon as no relevant new
combinations |
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can be any
more generated within the systemic approach of the musical building
rules
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(appearance of
recycled music). |
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More ... |
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P |
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Phlegmatic |
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Well balanced
mind-set around intellectual dominated contemplation, scientific
explorations |
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and
competency, abilities of vast integration and continuous growth. |
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Wikipedia (1) |
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A phlegmatic
person is calm and unemotional. Phlegmatic means pertaining to phlegm,
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corresponds
to the season of winter (wet and cold), and connotes the element of water. |
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While
phlegmatics are generally self-content and kind, their shy personality can
often inhibit |
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enthusiasm in
others and make themselves lazy and resistant to change. They are very |
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consistent,
relaxed, and observant, making them good administrators and diplomats. |
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Like the
sanguine personality, the phlegmatic has many friends. But the phlegmatic
is |
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more reliable
and compassionate; these characteristics typically make the phlegmatic a |
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more
dependable friend. (Wikipedia) |
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Wikipedia (2) |
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Within an
individual, the phlegmatic personality is considered to be compatible with
the |
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sanguine and
melancholic traits -- the melancholic personality is too perfectionist, and
the |
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choleric is
too controlling. Combinations of two incompatible traits may be evidence of
masking. |
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When the
theory of the temperaments was on the wane, many critics dropped the
phlegmatic, |
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or defined it
purely negatively as the absence of temperament. This, however, made it
available |
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for the
German philosopher Immanuel Kant to reclaim as the temperament appropriate
to |
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freedom and
virtue. (Wikipedia) |
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FleX Form Type |
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A phlegmatic
musical structure concentrates on universal control and balance of all mental |
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types,
organic growth and gradual intellectual development. Interactive play is an
important |
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generator for
this kind of structural development (for example, polyphonic improvisations, |
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sophisticated
Jazz developments, etc.). The typical incarnation of the phlegmatic musical |
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type is the
"Fractal" (or fugue). |
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Playground |
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Playgrounds
consists of formal building blocks, sequences, vertically complete
assemblies |
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built of
sound streams (musical spaces). Playgrounds are, for example, HTML pages
that |
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include
multiple Animated Sounds (see also Sound Pages, Sound Trips). |
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Pubmusic |
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FleX music
with a strong orientation to physical and balanced sounds |
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as known from
standard hearing experiences. The musical structure |
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itself is
more balanced and musical forms are rather simple and not |
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too
concentrated. |
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Babylon |
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Public: adj.
open to all people, freely accessible; pertaining to an |
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entire
population; general, universal; n. place that is accessible to the |
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general
population; population as a whole, populace; community, group |
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of people
with common interests or qualities. (Babylon) |
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More ... |
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R |
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Repetition |
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One of four
basic material types in musical structures, typical for "Figures".
The repetition |
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structure
must be broadly understood within the complete parametric field, for example, |
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a tone might
be repeated, but also a certain time value while the tone is changing, etc. |
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Resonance |
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The
acoustical phenomenon of resonance can be used to symbolize the degree
of |
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Theory |
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perception
that a listener is able to experience from a certain piece of music.
Depending |
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on his
listening experience that can be considered as a summary of adaptive
oscillation |
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over time
such as a resonating system that adapts itself to a certain band of
frequency, |
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the strength
and deepness of his musical experience can be examined. |
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Further to
this approach interesting effects of interpersonal resonances (effects of
mass |
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experiences,
etc.) can be considered as well. |
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S |
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Sanguine |
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Mind-set of
high agility and sudden changes, masking, playing, intellectual games, acting
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and imitating
other mind-sets, skepticism, ability to leave a given framework. |
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Wikipedia |
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Sanguine
indicates the personality of an individual with the temperament of
blood, |
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the season of
spring (wet and hot), and the element of air. A person who is sanguine
is |
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generally
optimistic, cheerful, even-tempered, confident, rational, popular, and
fun-loving. |
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They can be
daydreamy to the point of not accomplishing anything and impulsive,
acting |
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on whims in
an unpredictable fashion. This also describes the manic phase of a
bipolar |
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disorder.
(Wikipedia) |
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FleX Form Type |
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A sanguine
musical structure concentrates on simulation, masking, interpretation of |
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musical
structures and is therefore best suited for "Serial" (variation)
forms. |
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Scenery |
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A scenery is
a musical period which is characterized by a quite stable relationship of |
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its musical
elements (like Figures, Layers, Events, and Xpressions). It offers usually |
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a wide
panorama on various musical experiences at once and is typically used as the |
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central
building block for Song forms (see Song). |
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Sequences |
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Sequences of
Animated Sounds are fulfilling different functions depending on which |
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type they are
belonging to: |
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> |
A sequence of
Figures provides a kind of "Sound Road", carrying and driving |
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the musical
communication. |
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> |
A sequence of
Layers provides a kind of "Sound Space", enlarging and
deepening |
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the musical
communication. |
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> |
A sequence of
Events provides a row of "Sound Attractions", enriching the musical |
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communication
through additional context. |
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> |
A sequence of
Xpressions provides a kind of "Sound Poetry", communicating
the |
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main and vital
musical intent. |
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Serial |
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In the FleX
concept a "Serial" describes a musical form that is a linear
sequence of a |
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vertically
split variation process, comparing to classical variation forms. |
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Sonata |
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Sonata
denotes a self-contained work for one or two instruments (earlier, three or
more also), |
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usually with
at least three movements, at least one of which is in sonata form. The
standard |
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layout of
such a multi-movement sonata is occasionally and confusingly called sonata
form, |
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but not in
this article. |
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Wikipedia |
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Sonata form
is a musical form that has been used widely since the early Classical
period. |
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It has most
often, but not exclusively, been used in the first movement of many kinds
of |
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multi-movement
pieces, and is therefore sometimes referred to as sonata-allegro form or |
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first-movement
form. (Wikipedia) |
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FleX Form Type |
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The FleX
concept reflects the sonata form as the top musical realization of a dramatic
and |
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contrast
oriented composition, combining all types of mentalities into one piece of
music, |
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creating a
kind of multi-level interaction between of them. The generic process of a
sonata |
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is - unlike
the fugue - non linear, meaning that there are a lot of interdependencies
spread |
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over the
whole piece, while the direct succession of the musical flow is rather
discontinuous |
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and led by
contrast balance. The sonata form is can be considered as the incarnation of
the |
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musical form
in general (highest degree and density of architectural relationships). |
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The extended
musical form in FleX that corresponds to the sonata is called
"Story". |
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Song |
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A song is a
relatively short musical composition for the human voice (commonly |
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accompanied
by other musical instruments), which features words (lyrics). |
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Colloquially,
song is commonly used to refer to any music composition, even those
without |
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vocals. |
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Wikipedia |
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Songs can be
broadly divided into many different forms, depending on the criteria
used. |
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One division
is between "art songs", "popular music songs", and
"folk songs". |
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Other common
methods of classification are by purpose (sacred vs. secular), by style |
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(dance,
ballad, Lieder, etc.) or by time of origin (Renaissance, Contemporary, etc). |
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(Wikipedia) |
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FleX Form Type |
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The FleX
concept reflects song forms in a broader sense of any musical form that owns |
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stable
musical layers with certain musical functions throughout the whole piece like
melody |
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plus
accompaniment. Still all structures of all types might be present, but in a
fixed vertical |
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order with
limited interaction (unlike the sonata form where all types are in continuous
change |
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of
interactions involving structure and type dominance in a certain time period
as well). |
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Song forms
are typically circular (like the sonata form) and the most popular due to
their formal |
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simplicity.
Sophistications in song forms can be found in the melodic, harmonic, and
sound |
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balance
sphere. |
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Scenery Energy |
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Due to the
relatively fixed vertical structure of a song (see "Scenery"), the
formal elements can |
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be usually
easily distinguished. Formal elements can have a different degree of |
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communicative
"temperature": |
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> |
State:
Scenery of normal communicative power (normal message) |
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= "Balanced Scenery" |
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> |
Subset:
Scenery of subordinate communicative power (less emphasized message) |
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= "Shadowed Scenery" |
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> |
Stress:
Scenery of high communicative power (strong emphasized message) |
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= "Highlighted Scenery" |
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> |
Sequence: Row
of smaller single units appearing with one of the above emphasizes |
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= "Moving Scenery" |
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Many songs
start with a State as relatively relaxed message (strophe) before moving to a |
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Stress
pattern (refrain) that owns a higher emphasized expression. |
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Sound Family |
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A group of
sounds with a relatively high degree of similarity, usually bundled into
an |
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Animated
Sound that performs all variations at once for lively replay. |
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Sound Page |
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A Sound Page
is usually a HTML page that assembles a number of Animated Sound |
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groups that
are used to follow each other representing a certain piece of Freesound |
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Music. |
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Sound Park |
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The Sound
Park is a collection of Animated Samples that is used to create new Sound |
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Pages and
Web-based sound compositions. Within the Freesound Music project, |
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the Sound
Park is also called "Workbench", split into four basic areas of
Animated Sounds. |
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Sound Road |
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A "Sound
Road" is a continuous sequence of Figures which are usually sharing one |
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type or
"temperature" of motion (for example, very fast, or continuously
changing their |
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metrics,
etc.). |
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Sound Roads
are constitutive for the establishment of Sound Trips. You could say that |
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Sound Trips
are driven based on Sound Roads providing a kind of driving direction and |
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driving power
to the other levels of musical information (see also description of FleX |
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functions). |
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The practical
road to establish Sound Roads (the "road-road") can be divided into
four |
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different
levels of constitutive methods: |
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1. |
Road
Mode: |
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The Direct
Mode applied in Adobe Director for immediate succession of Animated |
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Sound chunks
guarantees a continuous musical stream performance. |
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2. |
Road Map: |
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Assemblies of
Figures that share similar motion characteristics allow selection for |
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continuous
Sound Roads. |
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3. |
Road
Mark: |
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Group Control
Buttons leading through an actual selection of Sound Roads with |
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optimum
succession and appliance of fitting Xpression, Layer and Event elements. |
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4. |
Road
Motion: |
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The organized
Sound Trip in action allows the actual Sound Roads entering the |
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ear of the
listener and carrying the complete scope of the musical information. |
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Sound Scape |
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"Sound
Scape" is used to characterize a musical situation where musical
elements |
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Figures,
Layers, Events, and Xpressions are lasting for a while in a balanced
situation |
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(see also
"Scenery"). This situation can be also paradigmatic when on the
concrete |
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level a
higher differentiation occurs. In this case, a smooth shift from one Sound
Scape |
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paradigma to
another becomes a matter of subtile composition. |
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In a wider
sense "Sound Scapes" are also marketed as static musical products,
like |
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sound
installations (see "Freesound Music Portal"). |
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Sound Trips |
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A "Sound
Trip" stands for the perceptional focus on a musical stream. In today's
multi-media |
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environments
visual components usually dominating the musical experience (80 % of |
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Introduction |
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attention is
owned by the visual perception). Sound trips are offering the experiences
that |
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are only
accessible when listening primary to sequences of musical events while visual |
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components
underline or support the origin musical flow of information (visualization
as |
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function of
music unlike music a "atmospheric" function for visual dominated
content). |
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For example,
listening to a symphony while watching the orchestra that produces its sounds |
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can clearly
be considered a sound trip. In this sense, sound trip means nothing else than |
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the readiness
of a listener to dive into music. MTV like music videos can be considered |
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as sound
trips as well since usually the visualization of musical generation - even
simulated - |
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is being
embedded. |
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Representations |
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Sound Trips
can be represented in different ways: |
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> |
"Matrices":
Animated Sounds are assembled in Sound Pages in F-l-e-X order |
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but not
necessarily in the order of their scheduled appearance. Group and button |
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guide control
can be provided within and outside the Animated Sounds. |
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Used for
Sound Trip development and specialized performances. |
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> |
"Sound
Pages": Animated Sounds are assembled in Sound Pages in F-l-e-X order, |
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and the
various groups are appearing in the order of their scheduled appearance. |
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Because of
that, certain Animated Sounds may also appear multiple times (when |
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included in
following groups). Used in standard Sound Pages (usually in one page). |
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> |
"Burndowns":
A Burndown is an audio recording of a Sound Trip as represented and |
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played by one
of the above Sound Page versions. It represents a frozen version of |
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a Sound Trip
unlike Sound Page representations that vary with each performance. |
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Sound Trip Types |
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According to the concept
of four different basic musical forms, Sound Trips can be |
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divided into: |
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> |
"Round
Trips" presenting a lot of exciting stuff to experience (OT, see Story) |
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> |
"Local
Trips" with focus on details someone might like especially (LT, see
Song) |
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> |
"Field
Trips" to gain new insights (FT, see Serial) |
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> |
"Road
Trips" where the destination is yet to be discovered (RT, see Fractal) |
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Collections |
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"Journeys" can
be considered as assemblies of Sound Trips, as you would organize a |
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whole vacation. A Round
Journey would include all kinds of Trips ("symphonic cycle"), |
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whereas a Local Journey
would naturally focus just on Local Trips ("song album") or a |
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Field Journey would
focus on diverse Field Trips ("theme with variations"). Finally a |
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Road Journey would
combine various Road Trips intermitted by various Local Trips |
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for getting some rest
("preludes and fugues"). |
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Road Marks |
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Sound Trips are driven
by "Road Marks" (play control buttons) that are highlighted |
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(button guide) in order
to indicate recommended switches of Scenaries for traveling. |
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(See also Sound Roads.) |
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Organized Trips |
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Recommended or flattened
Sound Trips are "Organized Sound Trips", providing a |
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specific value on
optimization how to explore a given sound selection (see also Sound |
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Scape). These Trips are
comparing to the concept of a defined musical piece or |
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composition. |
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Publishing |
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Improvisations and
random methods (shuffle) are additional ways to experience the |
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collections of Animated
Sounds. Based on those tries and experiments the Freesound |
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Music project invites
the community to participate in creating and presenting organized |
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trips as described
above. This is supported by given publishing methods laid out in |
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the
"Implementation" section of this site (see corresponding tab
below). |
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Story |
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In the FleX
concept, "Story" refers to musical forms that are an outcome of
sophisticated collage |
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techniques
and usually circular built (for example ABA), comparing to the classical
sonata form. |
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Streamer |
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A streamer is
a sound generating tool that creates continuous sound output by utilizing
given |
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sound
resources, for example, by linking them as Hypersounds (see also Animated
Sounds). |
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Structure Type |
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The FleX
concept distinguishes between four basic structure types,
"Figures", "Layers", |
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"Events",
and "Xpressions". |
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Surfmusic |
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Music that is
based on the Hypersound principle opens new opportunities for musical |
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interactions
that lead to interactive or joint authoring which becomes a much stronger |
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approach than
known from con-productive classical music interpretation or even Jazz |
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improvisations.
In interactive environments as suggested by Animated Sound navigations, |
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the final
musical stream is a result of navigational actions of the user. |
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Hypersound |
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Any sound
hyperlink produces a new valid musical event, thus providing a complete |
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musical
experience while surfing through Hypersounds. The user's preferences on
changes |
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within the
environment (between Animated Sounds, sound groups, or complete sound pages) |
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becomes a
part of the authoring process of the final and unique musical stream which we
call |
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a Sound Trip. |
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V |
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Variation |
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In music,
variation is a formal technique where material is altered during
repetition; |
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reiteration
with changes. Changes may be harmonic, melodic, contrapuntal, rhythmic, |
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and of timbre
or orchestration. Varied sections depend upon one type of presentation |
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of material,
while developmental sections use many different presentations and
combinations |
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of material. |
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Wikipedia |
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Variation
forms include ground bass, passacaglia, chaconne, and theme and
variation |
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(Copland
2002, p.115). Theme and variations is a musical form where a theme is
repeated |
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in altered
form or accompanied in a different manner. Passacaglias and chaconnes |
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are forms in
with a repeating bass line or ostinato is heard through the entire
piece. |
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Fantasia
variation is a form which relies on variation but which repeats and
incorporates |
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material
freely. (Wikipedia) |
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FleX Form Type |
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The FleX
concept reflects variation forms in a broader sense of any sequence of
musical |
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patterns or
movements that explores certain mental types and structures, one after the |
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the other
(called "serial"). Like the song form, variations are degenerative
forms with frozen |
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types of
structures - here non-flexible in horizontal manner while a song is
non-flexible in a |
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vertical
manner. |
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Vector |
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One of four
basic material types in musical structures, typical for "Events". A
vector is |
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characterized
by a parametric transition from one position to another, for example a |
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glissando,
accelerando, sound transition, etc. |
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W |
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Well Tempered |
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Between the
poles of being bored (highest redundancy) and being confronted with |
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Music |
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non-understandable
information (entropy), each individual as well as whole musical |
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cultures are
experiencing a range of richness and dynamics of musical information. |
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This
thermodynamic balance could be called "well tempered", meaning the
existence |
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of an
operating system that allows the most of differentiable musical information
units |
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while
retaining an optimum degree of internalization (which is a very important
trade- |
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off). |
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FleX Balance |
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Balancing
musical temperaments as proposed by the FleX concept could be considered |
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as essential
contribution to an optimum temperature for the biotope of deployable |
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musical
units. Progressive tendencies which can be materialized by higher flexibility |
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of the
musical parameters would be balanced by the conservative demand of |
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human
constants like anthropologic founded mind-sets and mental polarities or |
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physical
conditions of basic human experiences (communication, work, play, etc.). |
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which are
valid across cultures and societies of all ages. |
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More ... |
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Workbench |
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The Workbench
is an arrangement of 4 browser windows, representing 4 collections |
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of Animated
Sounds. These collections are also called Sound Park and consist of |
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"Figures",
"Layers", "Events", and "Xpressions". |
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Workflow |
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Although it
becomes quite easy to combine Animated Sounds into Sound Pages, this |
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transformation
is still challenged by an optimum process to cope with the mass of sounds |
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available and
some leading ideas how to streamline the work for creating Freesound |
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Music. For
those who want to dive a bit deeper into the creation of Freesound Music, |
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four basic
work steps or work "stations" can be suggested: |
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1. |
Sound Park: |
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All work
starts with the assembly and systematically capturing sounds into |
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the FleX
categories. You may contribute to the Sound Park as described in the |
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"Contribution"
section (see tab below). |
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The Sound
Park is represented by a 4-tiled browser environment, called the |
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Workbench. |
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>> |
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2. |
Sound Road: |
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A variation
of the Workbench is available that presents "Figures" ordered by |
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average
speed. Assembling Figures with similar speed constitutes a very good |
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entry point
for the overall selection of Animated Sounds. If you want, you create |
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a kind of
"Sound Road" on which the other sounds will "drive" or
"be driven". |
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>> |
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3. |
Sound
Matrices: |
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Sound
Matrices are created with the help of HTML methods as described in the |
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"Implementation"
chapter (see tab below). The idea is to control all Animated |
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Sounds by
sequences of play group controls, typically located underneath |
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the Animated
Sound matrix. Unlike the direct creation of Sound Pages, this |
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non-linear
approach allows a more complex and economic use of sound |
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references,
leading to more creative freedom of the musical design. |
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4. |
Sound Pages: |
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Once a Sound
Matrix has been finalized, different versions of this Sound Matrix |
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can be
extracted, using the standard method of creating Sound Pages as |
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described in
the "Implementation" chapter (click link to the right). However,
HTML |
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editing
methods will still be needed for a complete transformation. |
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X |
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Xpression |
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Musical
structures leading the musical communication, like a melody. Usually split in
phrases |
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(reflecting
breathing), those leading structures are of individual and expressive nature
and |
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most
responsible for the profile of a certain piece while demanding for the
highest attention. |
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End of Page |
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