Hyperrealism (music)
Hyperrealism is a term coined by the composer Noah Creshevsky to describe a musical language for his and his colleagues' compositional aesthetic. Creshevsky defines hyperrealism as "an electroacoustic musical language constructed from sounds that are found in our shared environment ('realism'), handled in ways that are somehow exaggerated or excessive ('hyper')."[1][2][3]
References
[edit]- ^ Creshevsky, Noah. "Hyperrealism, Hyperdrama, Superperformers and Open Palette". www.kalvos.org.
- ^ Báthory-Kitsz, Dennis. "A Language We Already Understand: Noah Creshevsky's Hyperrealism". New Music Box. Archived from the original on 2007-10-22. Retrieved 2007-11-09.
- ^ Gann, Kyle (July 6, 2004). "Slice 'N' Dice". Village Voice. Archived from the original on December 3, 2007. Retrieved November 9, 2007.
Articles and reviews
[edit]- "STUFF MUZAK #1: A (VERY) SOFT FOCUS ON HYPERREALIST MUSIC" by Dwight Pavlovic, Decoder Magazine, June 7, 2016
- "Twilight of The Gods" by Allan Kozinn, The New York Times, June 18, 2010
- "Consistent lines: Creshevsky clearly builds his own reality.", by Tobias Fischer, "Tokafi", November 30, 2007
- "A Language We Already Understand: Noah Creshevsky's Hyperrealism" Archived 2007-10-22 at the Wayback Machine by Dennis Báthory-Kitsz, "NewMusicBox", June 13, 2007
- "Hyperrealism, Hyperdrama, Superperformers and Open Palette" by Noah Creshevsky, "Kalvos & Damian New Music Bazaar", 2005
- "Slice 'N' Dice" Archived 2007-12-03 at the Wayback Machine by Kyle Gann, Village Voice, July 6, 2004
- "Traveling Through Hyperreality With Umberto Eco", "Transparency"