Sound and Movie examples from this issue 24(1) can already be found online at the journal’s website: www.journals.cambridge.org/OSO.

Christophe D’Alessandro and Markus Noisternig

Of Pipes and Patches: Listening to augmented pipe organs

19 Sound examples

Sound example 1: Emerging voice: inner sound (see Figure 2). From ‘Les douze degrés du silence’ by C. d’Alessandro. Live recording performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 24″.

Sound example 2: Emerging voice: outer sound (see Figure 2). From ‘Les douze degrés du silence’ by C. d’Alessandro. Live recording performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 24″.

Sound example 3: Inharmonic mixtures. From ‘Les douze degré du silence’, Degré 1, from 28″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 11″.

Sound example 4: Inharmonic distortion. From ‘Les douze degré du silence’, Degré 7, from 22″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 17″.

Sound example 5: Tiling. From ‘Symphonie de l’Empereur Jaune’, épisode 1, from 7″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 21″

Sound example 6: Stacked sounds. From ‘Symphonie de l’Empereur Jaune’, épisode 5, from 1′49″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 12″.

Sound example 7: Microtonal stops. From ‘Sonate 3, second movement’ by Valéry Aubertin. Live recording performed by Pascale Rouet (organist) and C. d’Alessandro (live-electronics) – 13″.

Sound example 8: Wind Microphony. From ‘Les douze degré du silence’, Degré 8, from 5″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 11″.

Sound example 9: Echoes. From ‘Symphonie de l’Empereur Jaune’, épisode 2, from 6″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 5″.

Sound example 10: Short echoes. From ‘Les douze degré du silence’, Degré 4, from 4″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 6″

Sound example 11: Canon. From ‘Symphonie de l’Empereur Jaune’, épisode 11, from 13″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 16″.

Sound example 12: Shadow. From ‘Symphonie de l’Empereur Jaune’, épisode 10, from 0″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 14″.

Sound example 13: Time reversal. From ‘In paradisum’, 3′40″. By C. d’Alessandro. Live recording performed by Pascale Rouet (organist) and C. d’Alessandro (live-electronics) – 23’″.

Sound example 14: Registration glides. From ‘Symphonie de l’Empereur Jaune’, épisode 7, from 48″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 9″.

Sound example 15: Undulent. From ‘Symphonie de l’Empereur Jaune’, épisode 6, from 24″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 10″.

Sound example 16: Gliding notes. From ‘Symphonie de l’Empereur Jaune’, épisode 6, from 2′15″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 11″.

Sound example 17: Chaotic onsets. From ‘Symphonie de l’Empereur Jaune’, épisode 26, from 43″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 22″.

Sound example 18: Formant filtering voice. From ‘Symphonie de l’Empereur Jaune’, épisode 4, from 1′41″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 14″.

Sound example 19: Emerging voice. From ‘Symphonie de l’Empereur Jaune’, épisode 27, from 4′55″, by C. d’Alessandro. CD Hortus96. Performed by C. d’Alessandro (organist) and M. Noisternig (live-electronics) – 13″.

Alexander Sigman and Nicolas Misdariis

alarm/will/sound: Sound design, modelling, perception and composition cross-currents.

2 Movie examples

Movie example 1: Excerpt from the opening segment of the animation piece Future Creatures (2013) – 1′12″.

Movie example 2: Opening of fcremap’dB (2016), for ensemble, animated score and live electronics. Live performance, Decibel New Music Ensemble, Kunitachi Music College, Tokyo, December 2016 – 1′50″.

4 Sound examples

Sound example 1: Excerpt from opening segment of the animation piece Future Creatures (2013) – 41″.

Sound example 2: fcremaperc (2014), Movement I (‘Bubbles’) excerpt. Tam-tam, resonating metal sheet and live electronics – 1′06″.

Sound example 3: fcremaperc (2014), Movement III (‘Home’) excerpt. Zither, resonating metal sheet, resonating snare drum and live electronics – 1′11″.

Sound example 4: Opening of atrocity exhibition (2013) – 2′12″.

Filipa Magalhães and Isabel Pires

Recovering Music-theatre Works Involving Electronic Elements: The case of Molly Bloom and FE…DE…RI…CO

7 Sound examples

Sound example 1: Helena Vieira sings an excerpt from the aria ‘Là ci darem la mano’ from Mozart’s opera Don Giovanni (Interventions 2 and 3 in Capdeville’s documentation) – 11″

Sound example 2: Sound of the train – 22″

Sound example 3: Peeing sound – 16″

Sound example 4: A huge cello solo is heard, which begins to detune and then, on the piano, a glass slips quickly upon the strings – 25″

Sound example 5: Sound of water – with the purpose of reflecting the symbology of Lorca as above mentioned – 20″

Sound example 6: Sound of the sentence ‘Ay amor...’ – 5″

Sound example 7: Sound of wind and percussion instruments similar to the sparkling sounds in continuum – 24″