An individual note: of music, sound and electronics (A by Daphne Oram

By Daphne Oram

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With all these overtones available at the same moment you will have expanded your areas of resonance enormously. Your personal wavepattern will be raucous with overtones, and its intermodulation with an object will 'engulf' that object with tlus randomly selected nOise. For a while you may glimpse something beyond appearance, something that will be outside your nonnal experience, something so exciting that it will never let you rest until you find it again. But it will have been only transitory, for it will not have transmitted a 'spark' which you could grasp.

Would this sustained feedback repetition be, in a sense, like 'freezing time'-like stopping the TV film and holding it steady on 66 one frame scanning the same frame over and over again? 'here i,s, surely, interaction here .. , for what the bral~ IS scannmg WIll itself be affecting the personal wavepattern , , , III ,other words, the object will itself be altering the powers of observatIOn. It needs great detachment and great serenity to watch one's own thoughts without becoming emotionally 'involved'.

Hat I would choose; but others may prefer it and certainly 1Il the 1950s It looked as if the world was heading in that direction. Since then, composers have explored in other directions, where some aspect of the 'machine' seems to hold sway, but more 'freedom' appears to exist- they compose aleatorically. The spin of the coin. bility out of the freehand human control but escape the regimentation of total serialisation. ) . This new music has produced some interesting effects. Aleatoricism has given new pattems of pitch and rhythm, new awareness of s~und and silence, which has been assimilated by composersdIgested by them.

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