The construction of a comprehensive theory of orchestration adequate to deal with computer music has so far been hampered two main factors: the enormous variety in the sounds available, and the exponential rate at which audio and computer technology has been developing. In this article, the author outlines a theory of orchestration based on the relationship between sounds and their musical/temporal context that circumvents these problems. The theory makes possible some useful generalisations that the author believes will not become obsolete with the next generation of synthesisers.
Orchestration, Perception, and Musical Time: A Composer's View
Belkin, Alan
1988
Computer Music Journal 12(2): 47-53.
Language: English