Transients of Attack and Hybrid Sounds

This article aims to explain the compositional principles of the author’s Préfixes (1991), for instrumental ensemble and MIDI clavier. For him, this composition represents a new “mixity” between direct sound and loudspeaker sound that has come out of computer synthesis. “Mixity” is a term specific to the author’s music that differs from both “mix” and “mixture” through its reference to this combination of electrically amplified and non-amplified sound. Préfixes is the logical outcome of the author’s development of the principle of hybridised sound. Hybridisation affects the transients of attack: the neuralgic and decisive moment from which instrumental sound surges. The theory of mixity concentrates on the hybridisation that results from fixing signaling particles to the initiative of a sonorous, acoustic entity

Acoustics · Cognitive science · Linguistics · MIDI · Physics · Prefix · Computer Science · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy · Psychology