In order to obtain meaningful artificial musical phrasing, not only
parameterized synthesis of sound is needed in a tape music
idealization but also the know and how a musical gesture is achieved
with a particular emphasis in a sound model or a group or
combinations of timbres. Traditionally tape music has consisted of
very appealing and interesting sounds, nevertheless it might be that
expressiveness has been left only to real time performance. With the
advent of known compositional techniques like physical modeling of
sounds (Smith et AL) and algorithmic composition (Cope, Windsor and
Clarke, Todd, etc.), carefully crafted, gestures, articulations,
sequences of pitches with instantaneous (to the sampling rate)
changes in tempo and dynamics, can be rendered in a similar was as a
real performer giving another dimension to a composition of tape
music. In this talk two pieces will be compared: one with processed
sounds and the other with a single characteristic timbre plus the
synthesis of expression. The first piece has the interesting and
appealing sound approach while the second one has as its goal
``manipulating'' different gestures and durations in a timeline.
