Resonance in Musical Composition
Several composers have begun to make resonance the subject of compositions. Alvin Lucier has used acoustic instruments and sine wave generators to explore the resonance of objects large and small in many of his compositions. The complex inharmonic partials of a swell shaped crescendo and decrescendo on a tamtam or other percussion instrument interact with room resonances in James Tenney's Koan: Having Never Written A Note For Percussion. Pauline Oliveros and Stuart Dempster regularly perform in large reverberant spaces such as the 2-million-US-gallon (7,600 m3) cistern at Fort Worden, WA, which has a reverb with a 45-second decay.
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Famous quotes containing the words resonance, musical and/or composition:
“It is closing time in the gardens of the West and from now on an artist will be judged only by the resonance of his solitude or the quality of his despair.”
—Cyril Connolly (1903–1974)
“A pregnant woman and her spouse dream of three babies—the perfect four-month-old who rewards them with smiles and musical cooing, the impaired baby, who changes each day, and the mysterious real baby whose presence is beginning to be evident in the motions of the fetus.”
—T. Berry Brazelton (20th century)
“I live in the angle of a leaden wall, into whose composition was poured a little alloy of bell-metal. Often, in the repose of my mid-day, there reaches my ears a confused tintinnabulum from without. It is the noise of my contemporaries.”
—Henry David Thoreau (1817–1862)