By Daphne Oram
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Extra info for An individual note: of music, sound and electronics (A Galliard paperback)
And all is as silent as dust. But you know in real life things hardly ever happen in such orderly form. Such an excellent crescendo of rhythm and line that you composed when watching this imaginary coal fire--this crescendo coming to its climax just before the end of the composition and being smothered into silence- how often in life have you met a chain of events which followed such a predictable pattern? Composers in the past worked out predictable forms on which to base their music. Marvellous fonns like the fugue and sonata form.
Only if the physical waveband and the mental waveband are pleasurably resonating will the celetal allow itself to be affected. How often do we hear a performance which fails ever to touch us? For the perfomlers are too involved in their mental and physical wavebands to have any chance of transmitting 53 in the celetal band, and we, for our part, are far too worried . . ) . far too worried to allow our mental and physical wavebands to become acceptor circuits at all. The celetal side will therefore never be present, never be energised, either at transmission or reception, so it is futile to think that on such an occasion there will be any uplift.
Change accordmg ~o ~e settings of the tone controls (or filters) 111 the feedback CIrcUIt. ndecIpherable mu~h, and only those isolated sounds, recorded wIth the utmost c1anty, seem to retain any brilliance. Our memory re-recordings appear to follow the same rules. he time lapse of memory, luckily for us, usually has a smoothmg, mellowing effect. The memories which seem to last longest are not the complex ones, but are those memories ... the childhood ones ... which were recorded with extreme claritY-Isolated events which, at the time, completely held our concentration, for our young hrains were not cluttered up with the countless day to day worries of adult life.