Abstract
In this paper, I deal with the analysis of the process of finding and processing sound samples on the example of my electroacoustic composition Lonesome Skyscraper, for symphony orchestra and electronics. My intention is to show how the sound sample is crucially important in my compositional process from the very beginning of dealing with electroacoustic music; how important is its selection to me, where it was recorded, how it was pro- cessed, what is its internal structure, and what all depends on how the musical flow will be built in relation to them. Another aspect of this work is a review of the ways of translating processed sound samples into an orchestral medium, as well as orchestration procedures that bring these two very distant worlds closer together. The goal of these procedures is to create a sound image of an organic unity of incompatible – acoustic and electronic layers, which through dialogue and changing roles, joins these two independent but complementary musical narratives.
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