In italiano


Francesco Michi OFFERTE MUSICANICHE Strumenti per l'ecologia acustica

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File "SCHIZO3_1.ZIP" including the sound file "Oboe.wav" (note Do3 performed with an oboe) and the text file "Schizo_3.txt" (a copy of the written text you are reading now and a part to fill in following instructions)


Download the file "" and play the file "Oboe.wav". Spread the sound through loudspeakers to the room and record it with an air microphone (not through the amplifier but the loudspeakers!). Then digit the recorded sound with these options: mono, sample rate 22050, sample size 16 bit. At the bottom of this text note down the required data on the environment and the technical equipement employd. Send either the sound file or the text file (possibly already zipped) to my e-mail address: I will make the "schizo3_1" files available in the net as soon as I receive them so that somebody else could download them and again perform the operations you have already done.

Notes for the meditation:

Every sound which takes place in a resounding environment, for instance any room, gets loaded with the acoustic features of the environment itself. In the famous piece "I'm sitting in a room", through a simple process of spreading and recording in a sequence, A. Lucier makes this phenomenon not only apparent, but he makes it the protagonist of an act of great aesthetic value. Lucier's process is simple: a sound - that of a speaking voice, in the original score - gets recorded. The spreading of this sound in the room gets recorded again and this recording gets again spread and again recorded and so on. During every stage the frequency of resonance in the environment ( present in the composite spectre of the sound) will be reinforced, and at the end what we are going to hear will just be this frequency, articulated and modulated somehow by the rhythmic and dynamic features of the original sound. The sound has so had its experience of the space inside which it has been spread and this experience has, as we say, "changed" it: in every stage we noticed how, during the process, what is the resounding frequency of the environment emerges.

Schizophonia is a term coined by the Canadian composer R. Murray Schafer in The New Soundscape with reference to the split between an original sound and its electroacoustic reproduction: The original sounds are tied to the mechanisms which produce them, the electroacoustic sounds are like copies and can be reproduced at every time and in every space. How much can a sound travel? How far can it go? And what "news" does it get loader with during the travel, what does it carry with itself, like souvenirs, of the places it has visited? As for the first question; if the sound is available in the net, its travelling possibilities are theoreticalli unlimited: everybody can "invite" it to visit their room or studio. The resonating frequency of the room will be excited by one of the frequencies which form the complex spectrum of oboe. The sound, in its being takes on the experience of the place in the moment in which it tells of all its preceding steps. In the third Schizophonia I would like to try to offer a traveller's memory to a sound. I would like to see if a sound can keep a record of the various room in which it has been heard and of the instruments with which it has been spread and recorded: And I would like to see if, after a long travel through the world, it can still synthesize something like a global experience of the world, a band of resonating frequencies. I would beg you to collaborate, downloading the "" file and following the instructions.

Thank you


44, v.le Ugo Bassi 50137 FIRENZE
tel & fax 055-584241


Initial note:

I have recorded the oboe sound in Firenze, Italy, 10.3.96, at the Riccardo de Felice's Studio. The recording was performed with a Sennheiser Blackfire 527 microphone, and with DAT Tascam DA30MK2. The sound has been digited with a Digidesign Pro Tools card.

Data to include at the end of this text before sending back: Name, Surname, City, Date, Environment, Broadcasting instruments (sound card, tape recorder, amplifier, loudspeakers), microphone, tape recorder and card used for the digitalization.

Francesco Michi, March 1996