Abstract
This chapter describes a model for screen music-making that involves an extensive utilization of music technology tools, such as sample libraries and sound processing software. The resulting virtual ensemble, which Casanelles calls the hyperorchestra, allows the composer greater flexibility in terms of generating a wide variety of sounds. The chapter explains how sound mixing has become an integral part of the compositional process—hyperorchestration device. Since music produced with a hyperorchestra utilizes sound manipulation to produce meaning, Casanelles argues that, from this perspective, music composition should be considered an equivalent to sound design.
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Casanelles, S. (2016). Mixing as a Hyperorchestration Tool. In: Greene, L., Kulezic-Wilson, D. (eds) The Palgrave Handbook of Sound Design and Music in Screen Media. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-51680-0_5
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DOI: https://doi.org/10.1057/978-1-137-51680-0_5
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