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RECURSIVE I secondary O |
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from Generative Prose by Nathaniel Bobbitt |
can multiple reader listener process respire 1 notation Volume Waveform composition dynamic respiration loud pictorial system Air flow disturbance audible catalogue decay cardinal duration produces maintains resonance curve Function Non articulation band heard resonance Theory acoustic invisible Pitch Forms Pressure composition Realization involves establishing RESONANCE speaking once phonetic respiration hum pitch articulation attack emerges lines strict one thinks in respiration single pitch studies suite Realization Jazz excite meaning sound multi voiced counterpoint notated respiratory realization superimposed thinking director multiple articulation Highly Not range realization Summary Function application respire 1 2 1 2 solo One generated structurally meter velocity performer body episodic causal masses One pitches utterance Graphic metric parenthesis Characteristic pitches poetry Non contracted unpitched Respires nature phone value articulatory syntax Multivoiced distinctive functionally pitches Alternations resultant Pitches one non Respires concepts establish melody Remodeling narrative exposition Graphisms pitch unblocked blocked requirements difficulty 1 natural place placed regions determine Material technology attack procedures required speakers singers tone transmission 6 Nasal Oral 7 Interrupt Press Notation material sounded Problems Realization identify written 1883 sections Treatise poetry production realization notation establishes Silencing Sonority Function Nasal Guttural coherency invisible embedded guidelines task sensory Activism world intrusive notation realization graphism performer pitch Recent poetry multiple once Performance practices stimulus page reassembles 3 physically realize 4 Tense 5 Sonora act prior audition contractive groups negation 3 8 require performer ability 1975 Articulation Performance Speaking Essays Introductions 19 aloud deviation directions micro rhythms energies 2 2 page phonetic speech Pitch multiphonics articulation PERFORMANCE audibility playing ear intonation case energy 2 1 1 2 Simultaneous parameters determine pressure sounded static vocalization pressure tangled values Finally decode devaluates energies 1 2 Waste energies 2 enumerate detail personalities volume pitch resonance 2 3 2 Voices Trill Realization Mimetic treated Evaluation Silence spectral Sound Six Vocal throat tongue 2 faculties oral aspired Intonation priorities product activism 1 Vowel Vowels Vowels 2 Consonant Consonant Vowels Vowel Mumbled 3 Dense Diffuse contraction Structural excitation emphatic pressure pitch distortion verse displayend Oxford London diagonalization Sustained respires final instrument graphs charts meaning Conclusion page echo effect principles realize 3 physically 4 Tense Lax Contractions Expansion approach audible 3 inhale nasalized 3 bassoonist poetry written bursts delay echo turn life time mid ranges intensification irony laugh notation phonetics semantic accuracy music methods articulations audibility 6 Nasal Oral Beat values 7 intentional lineal narration exposition realization realization simultaneous traits Articulation Falsetto 1 Vocal vocal Consonant 3 Dense Diffuse Diagonalization regions aspired Music Music 7 1986 Form Restriction respiration MULTIPHONIC Telephonic Radio Fields Closed instructional development mimicry Generative nasal oral pathways sensation sensation new purpose 2 artificial non functional 3 unnatural Continuous Trill gargle directional 8 Strident One pension Silence Performance Comedy Satire Ritual analytical work inflections Schemes Compositional ranges renewed dropped varied rephonolized respire cavity vocal respiratory 2 1 residual Journal Society 1985 Place Self auto experimentation Translate Note asking What time encrypts heard notation inhale breath exhale air invisible graphism Establish lost phonema Rephonolization outline traits functions materials practical silence self analysis activism One Song 1970 ahead forward time never back energy multi voices passed interior Stand pitch properties laws Such system enumerates rigid Since music simultaneous 2 simultaneously Through sustain prolong kind vocalization respired articulation 5 Continuous Curvation Along New London 9 12 Style 3 Supreme interest 114 119 article Unpublished analysis civics compounded Note contractive intonation Diagonalization lay out time poem performance Specialization techniques ensemble phrasings Alternative Essays Concentration instrument capabilities Creativity Theatrics Highlights Display Difference Faked native Flute Harmonics Rephonolization Child Tonal Unable Translate COMPRESSED When time against employed form tactile memorial pitch intonation finish play poet realization granted Not shifts Once narration two realization unblocked blocked 9 Recursive I 1 secondary O 2 3 Text song articulation articulation dialogue cadences repetitions deviations cavity 1 natural 2 artificial 3 clarifying course poetry indications composer differentiate irrational polyrhythms Realization notation respires 2 alternating Nullifying time warp 2 residual Null 61 Continuous 8 Strident Mate 9 Introduction Generative Non musicians Phonetic musical poem composer dramatist contexts mimetics gestural resonance beating developed deviation articulation express vocalization graphically formation periodic invisible generative own looks make meant text illustration point reader reaspiration Energy Pitch singing droning undertone transforms song hum flute sung ARTICULATION thematics relate tone inflection |
I I O I O I O O O O O I I O I I I O O I O I I O I I O I I O O I I O I O O I I O O O O I I I I I O O O I I O I I O I O I I O I O O I I I O I I I O I I O I I I I O I I I I I I O I I O I O I O O I O I O I I O I O I I I O I I I O I O I I O I O I I O I O O O O I O O I O I O I I I I I I I O O O I I O I O I O I I I I I O I I O I O O I O I O O I I O I I O I I O O I I I I O I I O O O I I O I I O O I O I O I O O I I O I I I I O I O O I O I I O O I O I I I O O I I O O I I I I I O I I O I I O I O I I O I O I O I O O I I I I O O I O I I O O I O I O I O I I I I O O I I O I O O I I O I I O I O I O I I I O I I I O O I I I I I O I O I O I O I O I I O I O I I I O I I O I O O I I I I O I I I O I O I O O O I O I I O I O I O I I O I I O O O O O O O O O I O I O I I O I I I O I O I O O O O I O I I O I I I I I O I O O I I I I O I O I O O I I I O O I O I O I I I I I I I O I O O I O O I I I O I I O I I I O I I O I I O O I I O I I O I I O I O I I I O O O O O O I I O I I O I O I I I O I I O I I O I O I O I I O I O I I O O I I I O I O I O O I I I O I O O I O I I I O I O I O I O O I I I O I I O O O I I O O I O O I I I O I O I O O I O I I O O I I O I O I I I I I I I O O O O I I O O I I I O I I I I I I O O O I I O I I I O I O I I I I I I O I O O I O O I O I I O I I I O O I O I O O O O I I I I I I O O O O I I O I O I O I I O O I O O I I I O I I I O I O I I I I I I I I I I I I O I O O I I O I O O I I O O I O I I I O I O I I O I I O O I O I O O I I O O O I I O O O I I O I I O I O I I O I I O I I I I I I O O I I I O O O I I I I O O I I O O I O I I I I I I O I O I I O I O I O I I O I I O O O I O I I O I O I I O I I O O I I O I O I O I O I I I I I O O O I I O O I I I O I I I O I O O O I I O I O I I O |
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Generative Prose by Nathaniel Bobbitt |
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Readings |
© 1999 Warnell |