The Crying Wave is a twenty minute music composition for an amplified ensemble of fifteen instruments combined with a prerecorded electroacoustic audio component and live signal processing. The composition explores the use of fundamental electroacoustic music techniques such as additive, subtractive, and granular synthesis as models for the creation and manipulation of materials and structure in both the instrumental and electroacoustic aspects of the work. Two series of harmonies underlie the piece and serve as both harmonic and melodic resources. Procedures including additive/subtractive durations, palindrome and canon, the Fibonacci series, and antiphonal alternation of instrumental groups are used throughout the composition to provide structural coherence. The MIDI data processing software Max is employed to control a number of aspects of the work during performance, including playback of prerecorded electroacoustic audio segments on compact disc, changes of effects algorithms for digital signal processing modules, and the generation of a click track for synchronization. The following dissertation presents an analysis of the work in terms of the aforementioned concepts and techniques.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.34535 |
| Date | January 1996 |
| Creators | Radford, Laurie, 1958- |
| Contributors | Rea, John (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Doctor of Music (Faculty of Music.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001672084, proquestno: NQ37037, Theses scanned by UMI/ProQuest. |
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