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Montage is to electroacoustic music what Counterpoint is to (traditional) composition. It is the distribution of sound recordings over time. In principle, a 'montage' is linear in time and reproducible, residing in some fixed support. Micromontage is the use of montage on the Time Scale of Microsound s, its primary proponent being composer Horacio Vaggione in works such as ''Octuor'' (1982), ''Thema'' (1985, Wergo 2026-2), and ''Schall'' (1995, Mnémosyne Musique Média LDC 278-1102). The technique may include the extraction and arrangement of sound particles from a sample or the creation and exact placement of each particle to create complex sound patterns or singular particles ( Transient s). It may be accomplished through graphic editing, a script, or automated through a computer program. (Roads 2001, 182-187) Regardless, digital micromontage requires (ibid):
Granular Synthesis incorporates many of the techniques of micromontage, though granular synthesis is inevitably automated and micromontage may be realized directly, point by point. "It therefore demands unusual patience" (Roads, 2001), though it may be compared to the Pointillistic paintings of Georges Seurat . (ibid) ''Digital Montage'' can now be executed live with ITunes , Windows Media Player or using specially designed software for sound editing, such as Ableton Live , Steinberg Cubase , or DigiDesign ProTools . SEE ALSO SOURCE
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