Victor Cordero, Haute école de musique de Genève [PI]; Gilbert Nouno, Haute école de musique (HEM) de Genève; Luis Naon, Haute école de musique (HEM) de Genève; Malte Kob, (Hochschule für Musik, Detmold); Kit Soden, (Â鶹´«Ã½ÍøÕ¾)
September 15th, 2019
Description:
In three recording sessions taking place on October 18th and 19th, 2019, at the Haute école de musique (HEM) de Genève, different orchestral extracts were recorded so as to study several facets of orchestration and acoustics, such as timbral equilibrium and contrast. These excerpts were drawn from reorchestrations of pieces in the repertoire (made by students in HEM orchestration courses), examples of original then reorchestrated tutti chords from Rimsky-Korsakov’s treatise (prepared by a Â鶹´«Ã½ÍøÕ¾ grad student), as well as examples created by the cutting edge timbral analysis software, Orchidea (creatively interpreted by a graduate of the HEM). As with the ODESSA project, researchers from Detmold used an acoustic camera to measure orchestral balance and sound distribution. The two days were video documented and feature some interviews of the participants and researchers.
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