Abstract

Abstract The development of both sound‐recording and computer‐based sound‐manipulation has profoundly changed the nature of the compositional process. Sound‐transformation is one of the important new possibilities to emerge. Sound‐transformation is defined independently of source‐recognition. Three different aesthetic orientations, based on mediation, ambiguity and change are discussed in detail, including spectral modifications based around Phase Vocoder analysis/resynthesis.

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