Dimension II, Destruction
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Specifications
Region
Europe
Estimated Duration
11 - 15min
Date
2014
ISMN : 979-0-2325-1451-2
In Stock
Notes on this piece
"Dimension II, Destruction"written for Ensemble U:
"Dimension II" is in fact the 3rd volume of dimension series, and perhaps my most personal piece. In "Dimensions" I tried to establish a direct approach to the sound, within itself. I see the sound as a physical/acoustical substance, a lively source of energy and vibrations-movements. Sound became not only the" material" of music but the music itself. In "Dimension" pieces I tried to work with different dimensions of sound and the phenomena related to it. "Dimension II, Destruction" aims to deal directly with acoustics and phenomena such as "interference beatings" and "difference/summation frequencies"; and how they create different meanings of intensity, loudness, pressure, frequency, pitch, harmony etc. However as the subtitles suggest, this piece has a big emotional "pole" as well. While technically I used the frequencies in very tiny (minute) intervals from each other to create a constantly shifting net of "beatings" and other interactions on sound, the perception of, and the listeners reaction to, such interactions or events are purely musical, emotional or artistic.-Prelude-Synthesis-Coda-Postlude
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"Dimension II, Destruction"written for Ensemble U:
"Dimension II" is in fact the 3rd volume of dimension series, and perhaps my most personal piece. In "Dimensions" I tried to establish a direct approach to the sound, within itself. I see the sound as a physical/acoustical substance, a lively source of energy and vibrations-movements. Sound became not only the" material" of music but the music itself. In "Dimension" pieces I tried to work with different dimensions of sound and the phenomena related to it. "Dimension II, Destruction" aims to deal directly with acoustics and phenomena such as "interference beatings" and "difference/summation frequencies"; and how they create different meanings of intensity, loudness, pressure, frequency, pitch, harmony etc. However as the subtitles suggest, this piece has a big emotional "pole" as well. While technically I used the frequencies in very tiny (minute) intervals from each other to create a constantly shifting net of "beatings" and other interactions on sound, the perception of, and the listeners reaction to, such interactions or events are purely musical, emotional or artistic.-Prelude-Synthesis-Coda-Postlude
Instrumentation
Flute|Clarinet|Percussions|violin|Cello|Piano|electronics|
Score Details
Format - A3 / tabloid
Pages - 50
Pages - 50
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