Abstract
convergence seeks to show the potential beauty of a world at peace through the manipulation of dissonance/consonance and spatial information. As a noncomposed experimental piece, the principal task is sifting through a wealth of improvised free music to gleam the sections most pertinent to the aims of the work. Thereby, convergence is, in many ways, a continuation of the concept adopted by Columbia editors on Miles Davis later works (‘‘Bitches Brew’’ and ‘‘Live/Evil’’ among them) which places the engineer/editor at the forefront of the creative process. In the spatial domain, this work draws heavily on the multi‐channel spatialization techniques developed by IRCAM ( et al.) and convolution with impulse responses, sampled and synthesized, to create the environment in which sound sources interact and ultimately join together with one voice.
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