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    Tracklist

    Chapter 1
    1Musical Box From Menagerie
    Chapter 2
    2Anna's Magic Garden
    Chapter 3
    3.1Melody With Individual Elements Less Than Five Milliseconds Long
    3.2Melody With Individual Elements Ten Milliseconds Long
    4.1A Low Note On The Piano
    4.2As 3.3 But Filtering Out All Frequencies Below The Second Harmonic
    5An Example Of Shepard Tones
    PerformerJean-Claude Risset
    6.1White Noise
    6.2Complex Sound
    7.1As 3.6
    7.2Melody Of Filtered Noise
    8.1(A) Piano With 'Flattened Envelope' (B) Flute At Same Pitch
    8.2(A) Flute With Imposed 'Piano Envelope' (B) Piano At Same Pitch
    9.1Sound With Relatively Constant Envelope
    9.2Piano Note
    10.1Bell Sound
    10.2Cymbal Sound
    11Vibraphone Sound
    12.1Flute Note
    12.2Trumpet Note
    13The Influence Of Onset Synchrony On Coherence
    14Splitting An Aural Image Into Two
    PerformerRoger Reynolds
    15Different Sound Objects From A Single Source
    16Sound Of Definite Mass
    17.1Grain Illustrated With Electronic Impulses
    17.2Grain Illustrated For A Bassoon Note
    18Speed Up Of Melody Into Grain
    19Speed Up Of String Of Speech Sounds Approaches Speech Multiplex
    Chapter 4
    20Two Sequences Based On David Wessel's Researches Into Timbre Space
    PerformerDavid Wessel
    Chapter 5
    21Chant Example: Transformation From Bell To Male Voice
    22Red Bird Transformation: '(Li)-sss-(ten)' To Birdsong
    23A Typically Vocally-Produced Multiplex
    24As 5.3 But The Field Characteristic Of The Multiplex Changes With Time
    Chapter 6
    25Anna's Magic Garden
    26Anticredos (Unspatialised Extract From Wishart Studio Demo Version)
    Chapter 7
    27Automusic (Extract)
    28Chant Example: Transformation From Bell To Male Voice
    29Red Bird: Book/Door Slam
    30Red Bird: Lisss/Birds
    31Musical Box From Menagerie
    32Still Life From Menagerie
    Chapter 8
    33Sound-Image 'Bellows/Water-Pump'
    34'Listen To Reason' Transformation
    35Garden Landscape
    36Reason Landscape
    37Animal-Like Sound Images
    38Bird Cadenza
    39Word Machine
    40Phonemes As Flocking Birds
    41'Rea' Transformation To Bark
    42'-ble' Bursts Into Bubbling
    43Ambiguous Machinery / Animal Landscape
    44'Rea' Transformation To Clock
    Chapter 11
    45Comparison Of Simulated Signals Of The Great Northern Diver (Loon), The Wolf, The Whale And The Red Squirrel
    Chapter 12
    The Glottis And Windpipe
    46.1Glottal Vibrations (Vibrating Larynx): Iterated Impulses (Unpitched)
    46.2Glottal Vibrations (Vibrating Larynx): Normal Rate Of Vibration (Pitched)
    46.3Windpipe Vibration Caused By Forcible Exhalation From Lungs: Below The Larynx
    46.4Windpipe Vibration Caused By Forcible Exhalation From Lungs: Above The Larynx
    47.1As 12.3
    47.2The Same (As 12.3) Combined With The Sound Of The Larynx
    47.3As 12.4
    47.4The Same (As 12.4) Combined With The Sound Of The Larynx
    47.5Octave Division (Normal Pitch Followed By Division)
    The Tongue
    48.1Tongue Vibrations: Tip At Front Of Mouth
    48.2Tongue Vibrations: Tip Onto Soft Palate
    48.3Tongue Vibrations: Tip Strongly Retroflexed
    49.1Rolled 'R' With Arched Tongue Middle Mouth
    49.2Rolled 'R' With Arched Tongue Back Of Mouth
    49.3Rolled 'R' With Arched Tongue Against Uvula (Snoring)
    49.4Rolled 'R' With Arched Tongue Brought Into Sung Pitch Range
    The Lips And Cheeks
    50.1Lip Vibration: Normal
    50.2Lip Vibration: Folded Towards Teeth
    50.3Lip Vibration: Strongly Pouted Outwards
    50.4Use Of Hands To Assist Production Of Long Lip Notes
    50.5Lip Oscillation Variations
    50.6Tow Independent Lip Oscillations
    51.1Cheek Vibrations With Pitch Variations Controlled By Hands
    51.2Sub-Audio Cheek Vibration
    51.3Independent Cheek Vibrations (With Resultant Beats)
    Filters
    52.1Sun Vowels
    52.2Different Routes From A To Ü Through The Vowel Space
    52.3Effect Of Lip Rounding On Formants (Vowels)
    52.4Different Mouth (Formant) Positions For I: (u)le As Compared With (e)le
    53.1Filtered Inhaled Glottal Clicks
    53.2Vocal Analogue Of Shepard Tone (Rising And Falling)
    53.3Filtered Lip Vibrations
    53.4Use Of Hands To Filter Cheek Vibrations
    53.5Hand Funnel Filtering (Noise Sound)
    54.1Formant Filtering To Accentuate Harmonics Of A Glottal Tone
    54.2Formant Filtering To Accentuate Harmonics Of A Glottal Subharmonic
    54.3Formant Filtering To Accentuate Harmonics Of A High Pitched Tongue Vibration
    Filtered Noise And Whistles
    55.1Changing Formant Structure Of Continuous Noise Consonants (Mouth Cavity)
    55.2Changing Formant Structure Of Continuous Noise Consonants (Mouth Cavity / Tongue Combination)
    55.3X/f Hybrid Continuous Consonant
    56.1The Lip Whistle: Three Registers
    56.2Tongue Whistle (Tongue Arch Rear Position)
    56.3Tongue Whistle (Tip Of Tongue in Sh Position)
    56.4Tongue Whistle (Tip Of Tongue in S Position)
    56.5Tongue / Lips Double Whistle
    Double And Treble Production
    57.1Different Types Of Roar Or Bark (3 Variants)
    57.2Tongue Vibration (rrr) Combined With Glotal Sounds (3 Variants)
    57.3Tongue Vibration (RRR) Combined With Glotal Sounds (2 Variants)
    57.4Tongue Vibration (Retroflexed RRR) Combined With Glottal Sounds (2 Variants)
    57.5Tongue Vibrations (Uvula U) Combined With Glottal Sounds (3 Variants)
    58.1Combinations Of Lip And Glottis Vibrations
    58.2Combinations Of Cheek And Glottis Vibrations
    58.3Combinations Of Noise Sounds And Glottis Vibrations
    58.4Combination With Intermodulation Of (a) Ordinary Whistling With Singing Compared With (b) High S-Whistle With Low Glottal Sounds
    58.5Two Simultaneous Tongue Vibrations
    58.6Combination Of Lip And Tongue Vibrations (With Intermodulation)
    59.1Cheek And Tongue Vibrations
    59.2Noise And Tongue Vibrations
    59.3Lips And Arched Tongue Vibrations
    59.4Cheeks And Arched Tongue Vibrations
    60.1Noise And Arched Tongue Vibrations
    60.2Whistle And Arched Tongue Vibrations
    60.3Noise And Uvular Vibration Of Tongue
    60.4Noise And Lip Vibrations
    61.1Whistle And Lip Vibrations ('Trimphone')
    61.2Simultaneous Noise, Tongue, Lip, Glottis Vibrations Independently Articulated
    61.3Glottis And Tongue Vibration Through Pouted Lips ('Trumpet')
    Air Stream And Other Effects
    62.1'Wamp', 'Half-wamp' And 'Quarter-wamp'
    62.2Half-Lunged Multiphonic
    62.3Unlunged Whistle
    63.1Manual-Diaphragm Flutter (Continuous Sound)
    63.2Manual-Diaphragm Drumming (Short Staccato Sounds)
    63.3Shake-head Flutter (Pitched And Noise Versions)
    63.4Drum-glottis Flutter
    63.5Shake-body Flutter
    64.1Drum-cheeks Flutter
    64.2Strum-Lips Flutter
    64.3Strum-Nose Flutter
    64.4Diaphragm Flutter With Tongue Vibration
    64.5Diaphragm Flutter With Lip Vibration
    65.1Ululation
    65.2Ululation Across Break In Voice
    65.3Ululation With High Depth ('Laugh')
    Water Effects
    66.1Arched Tongue Vibration With Saliva/Water
    66.2X/Water
    66.3Filter X/Water
    66.4Filtered Half-Lunged X/Water
    66.5K-Plosive + X/Water ('Children's Gunshot')
    66.6Filtered Half-Lunged X/Water: Plosive Staccato Production
    67.1Filtered Half-Lunged X/Water: Plosive Staccato Production + Tongue-Tip Vibration
    67.2Unvoiced/Water Sounds With Pitch Content
    67.3Inhaled Lip Vibration (Normal Then Water Behind Lips)
    67.4Inhaled Air Stream With Water Around The Sides Of Tongue
    Transformations (Exhaled Sustainable Sounds)
    68.1Tongue Oscillation Transformations
    68.2As 94 Adding And Subtracting Water
    69.1Pitched Production: Transformations Between Lunged And Half-lunged
    69.2Pitched Production: Transformations Between Under- And Over-breathed
    70.1Pitched Production: Transformation Between Normal And Fluttered
    70.2Transformation From Tongue To Lip Vibration
    Inhaled Sounds
    71.1Inhaled Lip Vibrations: Tones, Pulses, Multiphonics
    71.2As 100 + Control With Heals Of Hands
    71.3Inhaled Tongue Vibration (Retroflex Position)
    71.4Inhaled Tongue Vibration (Uvula Position)
    72.1Inhaled Pure Tones
    72.2Inhaled Click Trains
    72.3Inhaled Sub-Harmonics
    72.4Inhaled Complex Multiphonics
    72.5Inhaled Unstable Complex Vibration
    72.6Inhaled Unstable Complex Vibration With Filtering
    Pulses
    73.1Epiglottis Pulses
    73.2Arched Tongue Pulses (Rear, Centre And Front)
    73.3Tip Of Tongue Pulses (From Retroflexed To Further Forward)
    73.4Tongue/Teeth And Tongue/ Top Lip Pulses
    73.5Teeth And Lips Pulses
    73.6Lips Pulses
    74.1Pulses k and t: Lunged, Half Lunged, Unlunged
    74.2Plosive Half-lunged d
    74.3Plosive Half-lunged p
    74.4Plosive Unlunged p
    Voiced Pulses
    75.1Pulse D (Lunged) With Secondary Voicing And Breath
    75.2As 120: Other Types Of Voicing (Windpipe, Tongue Vibration, Whistle)
    75.3Pulse K (Lunged): Vibration Of Airstream Content
    75.4Pulse k (Lunged): Vibration Of Airstream Type
    75.5Pulse K (Lunged): Vibration Of Airstream Glissando
    75.6Plosive Air Stream Effect (Suppression Of Original Pulses)
    Pulses With Stops, Buzzes, Filtering
    76.1Plosive D (Unvoiced, Voiced) Compared With Addition Of G-Stop (d(g)!) (Unvoiced, Voiced)
    76.2Plosive D With Addition Of p-stop (d(p)!)
    76.3Drum Imitation (d(g)! With Glottal Vibration)
    76.4H-stream Stopped With Ch And K
    76.5S-stream Stopped With P
    76.6Slap Tongue (Unlunged T), Slap Teeth Pulses
    77.1Buzzed Lips: Lunged
    77.2Buzzed Lips: Half Lunged
    77.3Buzzed Lips: Unlunged
    77.4As 134 With Air Exhalation
    77.5Manually Initiated Lip Pulses
    78.1Pulse (Unlunged K) With Oral Filtering
    78.2Pulse (Unlunged P) Resonance Control Through Pouting
    78.3Plosive Click With Filter Glissando
    Simultaneous And Alternated Pulses
    79.1Simultaneous Pulses G + K
    79.2Simultaneous Pulses T + K
    79.3Pulse Alternation Tktk…: Lunged
    79.4Pulse Alternation Tktk…: Half-Lunged
    79.5Pulse Alternation tktk…: Unlunged
    79.6Pulse Alternation Gthgth…: Unlunged
    80.1Pulse Alternation Ptpt…: Lunged
    80.2Pulse Alternation Ptpt…: Half-lunged
    80.3Pulse Alternation Ptpt…: Unlunged
    80.4Manual Iteration Lip Pulses: Lunged
    80.5Manual Iteration Lip Pulses: Unlunged
    Pulses (Clicks And Combinations)
    81.1Pulse During Inhalation At Epiglottis
    81.2Unlunged Click: Lateral Tongue Movement
    81.3Unlunged Click: Vertical Tongue Movement (kl)
    81.4Unlunged Click: Plosive Vertical Tongue Movement
    81.5Unlunged T- Or Tut-click
    81.6Unlunged Th-click
    82.1Kiss (Short) With Various Degrees Of Lip Pouting
    82.2Plosive + Kiss Combination
    82.3Lateral + Kiss Combination
    Transitionals And Percussives
    83Consonant Transitions Between Harmonics Of A Given Glottal Pitch: M, N, Ng, 'Deep' Ng
    84Iterations Of Transitionals: Mnmn… And N-ng-n-ng…
    85.1Hand Clap With Mouth As Variable Resonator
    85.2Tapping Teeth With Mouth As Variable Resonator
    85.3Popping Finger Out Of Closed Lips
    85.4Manual Expulsion Of Air From Checks Through Lips
    85.5Water Drop
    Multiplexes And Complex Articulations
    86.1Multiplex Combinations: Pkƒlgr + X+ (Lunged And Half-Lunged) + Lip-Flabber
    86.2As 167 + Tongue Movement
    86.3As 168 + Glottal Glissando
    Chapter 13
    87Birdsong Trills Slowed Down
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    Credits

    Notes

    New and revised edition published as both hardback and paperback (this).
    358 pages.

    Tracks 1, 31, and 32 excerpted from Trevor Wishart & Friends / Trevor Wishart - Beach Singularity & Menagerie
    Tracks 2 and 25 excerpted from Various - Electroacoustic Music And The Saxophones Of Stephen Cottrell
    Track 22, 29, 30, and 33 to 44 excerpted from Trevor Wishart - Red Bird / Anticredos
    Track 26 unpublished
    Track 27 unpublished; original commissioned broadcast BBC2 Television (Sound Different: 'Music Outside') 1980

    Barcode and Other Identifiers

    • Barcode: 9 783718 658473
    • Other (ISBN (paperback)): 3-7186-5847-X

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