Ear as Instrument
Bibliographic Data
| ID | 20486299 |
|---|---|
| Authors | Christopher Haworth (0000-0003-0587-1465, Christopher Haworth (artist and writer), Sonic Arts Research Centre, School of Creative Arts, Queens University Belfast, BT7 1NN, U.K.., corresponding author) |
| Year | 2012 |
| Volume | 22 |
| Pages | 61-62 |
| Publication date | 2012-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Leonardo Music Journal (JOURNAL) |
| Journal identifiers | ISSN: 0961-1215 • E-ISSN: 1531-4812 |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/lmj_a_00099 |
| OpenAlex | W2084421972 |
| Language | EN |
| References cited | 1 |
The desire for instrumental qualities in computer music often leads the artist to a process of “synthetic limitation,” wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of possibilities available to the digital artist: as though the path to new sounds and ever more intimate control leads ultimately to a retreat. The author's response to this perennial dilemma has been to try to discover instrumental limitations within the ear itself. He describes an “ear-as-instrument” approach to the composition of Correlation Number One (CNO), an eight-channel computer music work he created in 2010 that uses a self-authored form of Distortion Product Oto-Acoustic Emission (DPOAE) synthesis
Dilemma · Human–computer interaction · Telecommunications · Computer Science · Hearing Loss and Rehabilitation · Hearing, Cochlea, Tinnitus, Genetics · Mathematics · Music Technology and Sound Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |