Jessie J - Price Tag ( Live Acoustic Music Video) is a live acoustic recording. It faithfully conveys the timbre of Jessie's voice and the acoustic guitar. It sounds as if we were at the scene. The sound quality is clear without any special effects engaged.
Noah Creshevsky's NORMAL GENES is a type of hyperrealist. Noah Creshevsky even created this term in music: hyperrealism, "a term he uses to describe an electroacoustic language constructed from sounds found in our shared environment that he handles in ways that are exaggerated or intense." The music proceeds in the collages of different chunks of music. Every chunk of music is a piece of a repertoire using acoustic instruments. However, it sounds like the scenes keeping get switched to the next scene. The beginning of each chunk starts comparatively soft, then it gets louder, and then it gets cut off. Creshevsky uses vocal in one chunk and switches to string alternatively, to intensify its effects of switches between scenes. If we utilize live acoustic vocal and instruments to perform, It will be very costly in terms of its difficulties and economics.
Morton Subotnick: Silver apples of the Moon (1967) is what I thought as surrealist. It begins with a mosquito-like-flying sound, ensued by a bunch of sounds of pressure cook in different frequencies, that staggering in different timing to act like percussion instruments. Then a single string play in atonal accompanied by the above sounds with high reverbs. A shocking sounds of brass bombard the tracks accompanied by the bell, string, electronic keyboard and steam-like percussions. Those sounds suddenly collapse in the descending portamento in slow motion. Following above, a new sound of a high-pitched electronic flute, and sound of a theremin, appear occasionally in a portamento gesture to create a mysterious atmosphere. Then a sound of drilling metal engages and act as another percussion. Sometimes a sound of bird chirping staggers in a quick punch. The overall clip presents a space of mystery and fail of remote radio deliverance.
If these sounds are created with live acoustic instruments, I would say that the instrument must has been fully explored by all the possibilities to create different timbres from its own original sound. And I am not sure whether it is worthy all the efforts since it is comparatively much easier to manipulate in the system of electronic music. But I believe that there is a trend to merge these two approaches, i.e., live acoustic music and electronic music, and to evolve to another milestone of music composition of revolution.
Noah Creshevsky's NORMAL GENES is a type of hyperrealist. Noah Creshevsky even created this term in music: hyperrealism, "a term he uses to describe an electroacoustic language constructed from sounds found in our shared environment that he handles in ways that are exaggerated or intense." The music proceeds in the collages of different chunks of music. Every chunk of music is a piece of a repertoire using acoustic instruments. However, it sounds like the scenes keeping get switched to the next scene. The beginning of each chunk starts comparatively soft, then it gets louder, and then it gets cut off. Creshevsky uses vocal in one chunk and switches to string alternatively, to intensify its effects of switches between scenes. If we utilize live acoustic vocal and instruments to perform, It will be very costly in terms of its difficulties and economics.
Morton Subotnick: Silver apples of the Moon (1967) is what I thought as surrealist. It begins with a mosquito-like-flying sound, ensued by a bunch of sounds of pressure cook in different frequencies, that staggering in different timing to act like percussion instruments. Then a single string play in atonal accompanied by the above sounds with high reverbs. A shocking sounds of brass bombard the tracks accompanied by the bell, string, electronic keyboard and steam-like percussions. Those sounds suddenly collapse in the descending portamento in slow motion. Following above, a new sound of a high-pitched electronic flute, and sound of a theremin, appear occasionally in a portamento gesture to create a mysterious atmosphere. Then a sound of drilling metal engages and act as another percussion. Sometimes a sound of bird chirping staggers in a quick punch. The overall clip presents a space of mystery and fail of remote radio deliverance.
If these sounds are created with live acoustic instruments, I would say that the instrument must has been fully explored by all the possibilities to create different timbres from its own original sound. And I am not sure whether it is worthy all the efforts since it is comparatively much easier to manipulate in the system of electronic music. But I believe that there is a trend to merge these two approaches, i.e., live acoustic music and electronic music, and to evolve to another milestone of music composition of revolution.
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