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glissandi [2015/05/19 15:58] – lbennettglissandi [2015/10/02 18:07] (current) – lbennett
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 ===Technical reports=== ===Technical reports===
-The difference in duration were analyzed by comparing the respective freququencies of specific motifs in the piece. Since no constant rate can be established, the differences are most likely to be caused by normal wow and flutter in the tape machines used. +==Different durations== 
 +The differences in duration were analyzed by comparing the respective frequencies of specific motifs in the piece. Since no constant rate can be established, the differences are most likely to be caused by normal wow and flutter in the tape machines used in possibly two different transfers.  
 +==Restoration== 
 +A first attempt at restoring the file proved unsatisfactory due to the very loud noise signal, which proved problematic especially in the piano and pianissimo passages. 
 +Restoration was then realized using the iZotope RX4 software.  
 +In a first step, 50 hertz hum was eliminated using four harmonically tuned notch filters, Linear Phase, -48db, -40db, -35db, -30db. The goal was to find a setting that would not weaken the bass sounds (e.g. at 2:37 etc.). A noise profile was then established. The first de-noising had the side effect that the high frequencies in some glissandi were less brilliant (e.g. at 0:40). Also, decaying sounds and reverberation had changed to strongly in some places. The noise profile thus had to be modified listening to the critical passages. Clicks and dropouts were then removed. Low clicks (probably analogue errors) and dropouts from the DAT tape had to be manually corrected, since the music is to “noise-like” for the algorithms to work. Finally, the signal level was normalized. 
  
  
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 Such an approach was chosen for the concert on January 29, 2015. It was realized using more than 20 speakers on two levels. The audio used was a restored version based on the publisher’s rented audio file.  Such an approach was chosen for the concert on January 29, 2015. It was realized using more than 20 speakers on two levels. The audio used was a restored version based on the publisher’s rented audio file. 
 +
 +===Outlook===
 +With respect to the available audio sources for //Glissandi// it would seem important to locate and digitize the first generation "Original" and "Ersatzoriginal" tapes. Judging from the quality of the copies of these tapes (see above), it might be necessary to combine passages from the "Original" and "Ersatzoriginal" tapes in order to achieve the best possible quality. 
  
 ===Select bibliography=== ===Select bibliography===
  
  
-Doati Roberto, György Ligeti’s Glissandi: An Analysis, in Interface, Vol. 20 (1991), S. 79-87. +Doati, Roberto, György Ligeti’s Glissandi: An Analysis, in //Interface//, Vol. 20 (1991), p. 79-87.  
 + 
 +Koenig, Gottfried Michael, Ligeti und die elektronische Musik, in //György Ligeti: Personalstil - Avantgardismus – Popularität//, hrsg. von Otto Kolleritsch, 1987, Wien, Universal Edition.  
 + 
 +Levy, Benjamin Robert, //The electronic works of György Ligeti and their influence on his later style//, Ann Arbor, Michigan: UMI Dissertation Services, 2006.  
 + 
 +Ligeti, György, 1968, Auswirkungen der elektronischen Musik auf mein kompositorisches Schaffen, in //Gesammelte Schriften//, ed. Monika Lichtenfeld, Mainz, Schott 2007, Vol. 2, p. 86-94. 
  
-Koenig Gottfried Michael, Ligeti und die elektronische Musik, in György Ligeti: Personalstil - Avantgardismus – Popularität, hrsg. von Otto Kolleritsch, 1987, Wien, Universal Edition +–, 1980. Musik und Technik, in //Gesammelte Schriften//, ed. Monika Lichtenfeld, Mainz, Schott 2007, Vol. 1, p. 237-261. 
  
-Levy, Benjamin Robert, The electronic works of György Ligeti and their influence on his later style, Ann Arbor, Michigan: UMI Dissertation Services, 2006 +– ,1983, György Ligeti in conversation with Péter Várnai, Josef Häusler, Claude Samuel and himself, London, Eulenburg. 
  
-Ligeti, György, 1968, Auswirkungen der elektronischen Musik auf mein kompositorisches Schaffen, Gesammelte Schriften, hrsg. Von Monika Lichtenfeld, Main, Schott 2007, Bd. 2, S. 86-94. +Nordwall Ove, //Ligeti-dokument: brev, skizzer, partitur, kommentarer, om musikteater, om musikalisk form, verklistor//, Stockholm: Norstedt & Söners, 1968.
  
-–, 1980. Musik et Technik, Gesammelte Schriften, hrsg. Von Monika Lichtenfeld, Main, Schott 2007, Bd. 1, S. 237-261. +–, //György Ligeti: eine Monographie//, Mainz, Schott, 1971. 
  
-– ,1983, György Ligeti in conversation with Péter Várnai, Josef Häusler, Claude Samuel and himself, London, Eulenburg, S. +Toop, Richard, //György Ligeti//, London, Phaidon Press, 1999. 
  
-Nordwall Ove, Ligeti-dokument: brev, skizzer, partitur, kommentarer, om musikteater, om musikalisk form, verklistor, Stockholm: Norstedt & Söners, 1968 +===Documentation=== 
 +The audio items and documents mentioned in this report can be consulted upon request at ICST, Zurich and/or Paul Sacher Stiftung, Basel.
  
-–, György Ligeti: eine Monographie, Mainz, Schott, 1971  
  
-Toop, Richard, György Ligeti, London, Phaidon Press, 1999  
  
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glissandi.1432043905.txt.gz · Last modified: 2015/05/19 15:58 by lbennett