In music, montage (literally "collecting") or voice collage ("shared gluing") is a technique in which new branded objects or sound compositions, including songs, are created from collage, also known as montage. This is often done through the use of sampling, while some playable sound collages are produced by tying together the different vinyl recording sectors. In any case, it can be achieved through the use of previous sound recordings or music scores. Like its visual cousins, collage work can have a completely different effect from component parts, even if the original part is completely recognizable or just from a single source.
Video Sound collage
Histori
The origin of the voice collage can be traced back to the works of the sonata program Biber Battalia (1673) and Mozart Don Giovanni (1789), and some critics have explained certain passages in Mahler was symphonic as a collage, but the first fully developed collage took place in several works by Charles Ives, whose section of Central Park in the Dark, compiled in 1906, created a feeling of walking in the city by layering several melodies and different quotes on top of each other. Thus, the use of collage in music actually precedes its use in painting by artists such as Picasso and Braque, who are generally credited with creating the first collage painting around 1912.
Previous traditional forms and procedures such as quodlibet, medley, potpourri, and centonization are different from collages because the various elements in them are made to fit together smoothly, while in key clashes, timbre, texture, meter, tempo, or other significant differences in helping maintaining the individuality of the constituent elements and for conveying the impression of a heterogeneous collection. What makes their technique a true collage, however, is a juxtaposition of unrelated quotes and melodies, either by coating them or by moving between them in sequence, as in the sequence of a montage film.
The first example of electronic sound collage made by electronic means is the work of "Wochenende" (in English, "Weekend"), word collage, music, and sound made by filmmaker and media artist Walter Ruttmann in 1928. Then, in 1948 , Pierre Schaeffer used sound collage techniques to create the first piece of concert music, "ÃÆ'â € ° tude aux chemins de fer", which was collected from the train recordings. Schaeffer created this piece by recording the sound of the train to some of the records, some of which have a keychain that allows them to play in continuous rounds. He then arranges several turntables in his studio, allowing him to trigger and combine the various rail sounds as needed.
Today's audio collage can be considered a postmodern Fluxus and a form of digital art. George Rochberg is an artist famous for his use of collage in pieces including Contra Mortem et Tempus and Symphony No. 3 .
Maps Sound collage
Micromontage
Micromontage is the use of montage on the microsounds time scale. Its main supporters are Horacio Vaggione's composers in works such as Octuor 1982, Thema (1985, Wergo 2026-2), and Schall (1995, MnÃÆ'Â © mosyne Musique MÃÆ' Â © he LDC 278-1102). This technique may include the extraction and arrangement of sound particles from the sample or the exact creation and placement of each particle to create a complex or single particle (transient) sound pattern. This can be accomplished through graphical, script, or automated editing through a computer program.
Regardless, digital micromontage requires:
- creating or compiling library sound files on different time scales
- import into the library of editing and mixing programs
- the use of a cursor, script, or algorithm to position each vote at a specified time point or time point
- editing duration, amplitude, and spatial position of all sounds (probably done by script or algorithm)
Granular synthesis incorporates many micromontage techniques, although granular synthesis must be automated while micromontage can be realized directly, point by point. "Because it demands unusual patience" and can be compared to Georges Seurat's pointilistic painting.
See also
- Musique concrÃÆ'¨te
- Detournement
- Mashup
- Remix
- Sampling (music)
- Multiple Assembly Required (radio program)
- Anyone to
Source
Further reading
- Joline Blais, and Jon Ippolito. On the Edge of Art . London: Thames & amp; Hudson Ltd, 2006.
- Buci-Glucksmann, Christine. "L'art ÃÆ' l'ÃÆ'  © ÃÆ' poÃ, ÃÆ'  ¢ à ¢ à ¢ â,¬Â ¢ à ¢ â,¬Â ¢ à ¢ à ¢ à ¢ à ¢ po¬Ã..." At FrontiÃÆ'¨res esthÃÆ'  © tiques de l'art, Arts 8 ,. Paris: L'Harmattan, 2004.
- Couchot, Edmond. Desotos, du temps et des machines, dans les arts et la communication . [NÃÆ'®mes]: J. Chambon, 2007. ISBNÃ, 2-7427-6940-4.
- Forest, Fred. Art and the Internet . Paris: Edition of Cercle D'Art/Imaginaire Mode d'Emploi, 2008. ISBNÃ, 978-2-7022-0864-9.
- Liu, Alan. The Laws of Cool: Knowledge, Work, and Information Culture . Chicago: University of Chicago Press, 2004.
- Lovejoy, Margot. Digital Currents: Art in the Electronic Age . London: Routledge, 2004.
- Paul, Christiane. Digital Art . London and New York: Thames & amp; Hudson Ltd, 2003. ISBNÃ, 0-500-20367-9.
- Popper, Frank. From Technology to Virtual Art . Leonardo (Series). Cambridge: MIT Press, 2007. ISBNÃ, 0-262-16230-X.
- Taylor, Brandon. Collages . London: Thames & amp; Hudson Ltd, 2006.
- Wands, Bruce. Digital Art . London and New York: Thames & amp; Hudson, 2006. ISBNÃ, 0-500-23817-0 (hbk.), ISBNÃ, 0-500-28629-9 (pbk.)
Source of the article : Wikipedia
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