le centre de la bombe university

D I P T
THE ELEMENTAL WESTERN WRITING MUSIC CONCEPTION /continuation 2

but D I P T

is more distinctive sensations based on experiences than musical parameters

DIPT is like temperature sensation:

too cold <-> very cold <-> cold <-> OK <-> warm <-> hot <-> very hot <-> too hot

We can feel music with sensations but not write music with sensations.
We write music with quantitative evaluation: "not to bad" s/he says.

Larousse French dictionary definition: "paramètre (n.m.) 1. Grandeur mesurable permettant de présenter de façon simple les caractéristiques d'un ensemble statistique. 2. (figuré) Elément constant à prendre en compte dans une opération intellectuelle quelconque." If somebody want to translate it in English, please send the translation at centre_bombe@hotmail.com

quantifying is the only way we found to control matter

our Western culturalized perception is distinctive not continuous,
we are a civilization more of profane workers than...

• • • • •
BUT, TO GROW UP THE QUANTIFICTION,
it is possible to be more precise - yes it is - about musical parameters.
To compose each sound element it could be more convenient to use Acoustics Parameters of Sound

than blur sensations?

Acoustics Parameters of Sound are:

Frequency [2] (in Hertz, Hz)
_______ including

spectrum (according to the specific Fourier analysis)
partials each sine wave of FFT spectrum
formant the amplitude shape of spectrum [< phonemes]
noises complex of quiet frequencies in sound

Amplitude (in Decibel, dB)
_______including

envelope the global dynamic shape and of sound: A-S-R the dynamic shape of each partial of sound's spectrum
transients very short attacks perceived as noise
resonance growing chosen frequencies in time in inter-reaction with environment
beatings amplitude variation (tremolo) generated by two close frequency

Time (in second or millisecond)
_______ including

phases the time of apparition of partials
iteration the frequency and recognition of partials
duration the time of existence
delays from flanging to echo through reverberation

Use FAT to write music is uncommon for usual classical score's readers. Most of the musicians from major orchestras who studied in academies of classical music [4] need a translation in usual Western notation like they have learned at school.[3]

In opposition, it would be interesting to continue all experiments started in 60s but abandoned in 80s with symphonic orchestras like "Score Out" my workshop for classical symphonic orchestra to create music without score. But no one accepted...
We are working this concept also with the Trans-Cultural Syn-phône Orchestras, I created in 1996, who joint around the World around 100 musicians from all genre of music playing in a same Syn-phônê especially created for them. There is some classical musician too. For more info go to TCSO.html