Abstract
Eva Reiter took sounds she recorded from a range of machines as a point of inspiration for a string quartet. The research collaboration addressed potential correlations between the original audio files and the finished quartet on the level of the sounding structure.
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Notes
- 1.
Biographical introduction and texts from the composer translated from the German by Tamara Friebel.
- 2.
Titles, as they are not wished by Reiter to be given as dual-translations, are available here as footnotes to assist those without knowledge of the German language. Alle Verbindungen gelten nur jetzt roughly expresses that “all relations apply just now”.
- 3.
Translated from the French, see [2, p. 76].
- 4.
Translated from the German, see [1, p. 85f].
- 5.
Alle Verbindungen gelten nur jetzt roughly expresses that “all relations apply just now”.
References
Gottstein B (2009) Musikwerdung des Klangs—Über Eva Reiter. In: Polzer BO, Schäfer T (eds) Catalogue Wien Modern
Romitelli F (2001) In: Danielle Cohen-Lévinas (ed) Musiques actuelles, musiques savante. Quelles interactions? Entretiens réalisés et présentés par Eric Denut. Paris, L’Harmattan, pp 73–77
Rutz HH (2012) Sound similarity as interface between human and machine in electroacoustic composition. In: Proceedings of the 38th international computer music conference. Ljubljana, pp 212–219
Stowell D, Plumbley M (2007) Adaptive whitening for improved real-time audio onset detection. In: Proceedings of the 33rd international computer music conference (ICMC). Copenhagen, pp 312–319
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Reiter, E., Rutz, H.H., Nierhaus, G. (2015). Eva Reiter/Wire Tapping the Machine. In: Nierhaus, G. (eds) Patterns of Intuition. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-9561-6_4
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DOI: https://doi.org/10.1007/978-94-017-9561-6_4
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