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| '''Barry Truax'''(] |
'''Barry Truax''' (]–) is a ] ] who specializes in ] implementations of ], often of ] sounds, and ]s. He developed the first ever implementation of real-time granular synthesis, in 1986, the first to use a sample as the source of a granular composition in 1987's ''Wings of Nike'', and was the first composer to explore the range between synchronic and asynchronic granular synthesis in 1986's ''Riverrun''. The real-time technique suites or emphasizes ]s, which, along with soundscapes, inform his aesthetic. | ||
| Truax teaches both ] and ] and ] at ]. He was one of the original members of the ]. His students include ]. | Truax teaches both ] and ] and ] at ]. He was one of the original members of the ]. His students include ]. | ||
Revision as of 13:33, 2 February 2006
Barry Truax (1947–) is a Canadian composer who specializes in real-time implementations of granular synthesis, often of sampled sounds, and soundscapes. He developed the first ever implementation of real-time granular synthesis, in 1986, the first to use a sample as the source of a granular composition in 1987's Wings of Nike, and was the first composer to explore the range between synchronic and asynchronic granular synthesis in 1986's Riverrun. The real-time technique suites or emphasizes auditory streams, which, along with soundscapes, inform his aesthetic.
Truax teaches both electroacoustic music and computer music and acoustic communication at Simon Fraser University. He was one of the original members of the World Soundscape Project. His students include John Oswald.
Compositions
- Riverrunn (1986, Wergo WER 2017-50)
- Wings of Nike (1987, Cambridge Street Records CSR CD-9401 and Perspectives of New Music CD PNM 28)
- Tongues of Angels (1988, Centrediscs CMC CD-4793)
- Beauty and the Beast (1989, Cambridge Street Records CSR-CD 9601)
- Pacific (1990, Cambridge Street Records CSR CD-9101)
- Pacific Fanfare (1996)
- Wings of Fire for female cellist and two digital soundtracks including the Joy Kirstin's poem "Wings of Fire" read by Ellie Epp (1996)
- Androgyne, Mon Amour for amplified male double bass player and two digital soundtracks including text from Tennessee Williamsbook of the same title read by Douglas Huffman (1997)