Transcription is an increasingly influential compositional model in the 21 st century. Bridging techniques of musique concrète and musique concrète instrumentale, my work since 2007 has focused on using timbral descriptors to transcribe audio recordings for live instrumental ensemble and electronics. The sources and results vary, including transformation of noise-rich playing techniques, transcription of improvised material produced by performer-collaborators, and fusion of instrumental textures with ambient field recordings. However the technical implementation employs a shared toolkit: sample databases are recorded, analysed, and organised into an audio mosaic with the CataRT package for corpus-based concatenative synthesis. Then OpenMusic is used to produce a corresponding instrumental transcription to be incorporated into the finished score. This chapter presents the approach in two works for ensemble and electronics, What the Blind See (2009) and Without Words (2012), as well as complementary real-time technologies including close miking and live audio mosaicking. In the process transcription is considered as a renewed expressive resource for the extended lexicon of electronically augmented instrumental sound.
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机译：转录是21世纪越来越有影响力的成分模型。自从musiqueconcreète和musique concrerte instrumentale的桥接技术以来，我自2007年以来的工作一直专注于使用音色描述符来转录现场乐器合奏和电子产品的录音。来源和结果各不相同，包括富噪声演奏技术的转换，表演者与合作者制作的即兴材料的转录以及乐器纹理与周围环境记录的融合。但是，该技术实现采用了共享的工具箱：使用CataRT软件包记录，分析样本数据库并将其组织成音频镶嵌图，用于基于语料库的串联合成。然后使用OpenMusic生成相应的器乐转录，以将其并入最终乐谱中。本章介绍了合奏和电子作品中的两种方法，即《盲人看》（What the Blind See，2009年）和《无言》（Without Words，2012年），以及补充实时技术，包括近距离模拟和现场音频镶嵌。在此过程中，转录被视为电子增强器声音的扩展词典的更新表达资源。
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