![]() If I’m designing a sound that simulates the impact of a bullet entering a plank of wood, most people would call that sound design. If there is a distinction, it seems tied to the task at hand, rather than the process itself. Having been in the mindset that any sound can be “musical” for some time, the division between sound designer and composer appears arbitrary at best. Pierre Schaeffer’s concept of musique concrète and John Cage’s music and his essay, The Future of Noise – Credo continued to push the envelope and gave validity to further experimentation. ![]() Arguably, it’s been disintegrating since the very idea of using “non-musical” sounds in a musical context was first introduced by Luigi Russolo in his historic manifesto, The Art of Noise (1913). The imaginary line between sound design and music production in terms of process has all but disintegrated in recent years. ![]()
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