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I kiss the Sky
The key ingredients of the composition I kiss the Sky (2017-2018) vary from physically modeled sounds to rich textures made by granular synthesis. The former stay focused while the latter get unfocused with indistinct features as if vaporizing in the air. For pitched material, a simple system is used to define the frequencies of all pitches, continuously throughout the piece. Furthermore, things appear to be in a state of slow flux. For example, in some voices their frequency bands are spatialized separately yet delicately, and so on. The title comes from Jimi Hendrix's lyrics.
The work is written with C++ and a synthesis software built by the author.
Format: 8 channel (octophonic) Tape
Even though the work is a multichannel piece, there are no special sound trajectories or loudspeaker
positioning expected, i.e. eight speakers somewhere in the room will do fine.
Spatial diagram for performance
For example eight speakers in a ring or two rows (left/right), no specific speaker positioning expected, i.e.
eight speakers somewhere in the room will do. However the speakers are like separate musical instruments
so they should not be too close to each other to better hear them separately.
Year Composed: 2017-2018
Synthesis environment - Software: MAL-d synthesis software, Hardware: compatible PC
Copyright © 2018 kari väkevä