![]() The story continues of the blind man’s conflict with objects on his way likened to the wind and connected to the wind’s texture by the sound of moving objects. The sound of chairs screeching on the floor and the tap of a cane. “The wind will come like a blind man tapping his cane.” The symbolism of blindness is brought to the listener’s attention by a concrete narration that clears the suspense and ambiguity. It excites into bobbling but edgy bits of words that insist on the effect of the wind of tapping. The fizzling whizz of the wind on the bare nakedness of the objects with a distinct fine touch. The story continues, “The wind is invisible, it doesn’t want to know.”īorrowing from poetry rather than ordinary narration, the sounds enhance suspense with gaps between the tale and story. “No one has ever heard again of a secret place,” repeated into regulated bits of natural sound in a background of a wild distant drum that makes the piece memorable and captivating. ![]() A short but very interesting piece Barry Truax – The Blind Manīased on a poem and reading by Norbert Ruebsaat, Barry Truax begins his piece with a crescendo of bells that set the stage that fades into a narration that is infected with repetition of the same words that emphasize the message. The dimensions within the sounds also seem to sway and vibrate back and forth as well. By equalization, the piece manipulates the magnetic set of sounds to generate consistency and progression. The piece employs plenty of transition into the sound patterns to impress the final execution of unnoticeably conflicting sets of sound in the music. This sabotages the artificial outlook that the piece creates at the beginning. I think I hear some metal plates falling together just as they do in the natural environment. Unity is created through the similarities in the source, but he uses many advanced techniques to change the sounds for variation. However, due to the timing of its production, it convincingly falls under acoustic pieces. This piece tows the lines of concrete work, so it would be an understatement to suggest otherwise. The magnetic feel and texture that clears in for a winding harmony of sound, lacks regulation and tuning, creating a fine but irregular texture. However, this should be regulated to avoid monotony and abstract obviousness. The echo can not fail an artist in making their point. The execution is motivating and generally impressive to listen to. This piece is original and inspired and undoubtedly refined with a sense of experience and expertise. It is not a reproduction of programmed sounds. 1958 has seen the rise of several other artists like EL-Dabh’s whose pieces were left to slip through the view noticed by a few. The smooth equalization merges the scenes into a rather solid texture of mixed impressions and tales. The dead walk and bring life to its knees, but the dead mean no harm. ![]() This is no simple ordinary edited sound, and it has the original feel of death in life. He maintains a touching gravity and intense fright with screeches and scratches from metal soothed by the wild squeaks. Church bells often associated with ambiance and misery is made to play the role of a bystander. The piece dies and creates death from the beginning, then streams to blend secular salvation with an ambiguous touch of selfless aggressive twist. That makes his pieces much more original and storytelling. Edgard Varèse – Poème ÉlectroniqueĮdgard Varèse has, for the longest time, been misunderstood for his lack of obviousness and discreetness. He has blended the peculiar sounds of the journey of the train, preferably a steam engine. The varying whistles blend a modern set up with spoiling the wild scene that filters through the piece. It sets the mood of activity and aggression and wild intrigue from the far off sounds of birds. ![]() The metallic and rather distant pondering of items introduced by a mysterious whistle completes the set. The timeliness of its presentation and emergence has gone a long way in ensuring that it gets worldwide face. It stands aside from the all too common EL-Dabh’s 1944 piece that gained prominence only in Egypt but not enough of presence in the outside world. Contrary to the first impression of common every evening sounds, the piece is deceptively obvious to the ear and reminds the listener of a moment they have all encountered in their lives. This is no ordinary piece since it generates a thrill that takes you outside town. Pierre Schaeffer makes a good attempt by integrating variation suspense and interest in developing the piece. Musique concrete occurs when specific, usually “found,” sounds are arranged into a musical composition. Learn More Pierre Schaeffer – Etude Aux Chemins de Fer
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