<?xml version="1.0" encoding="UTF-8"?><?xml-stylesheet type="text/xsl" href="static/style.xsl"?><OAI-PMH xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/ http://www.openarchives.org/OAI/2.0/OAI-PMH.xsd"><responseDate>2026-04-14T03:18:58Z</responseDate><request verb="GetRecord" identifier="oai:www.recercat.cat:10230/33803" metadataPrefix="qdc">https://recercat.cat/oai/request</request><GetRecord><record><header><identifier>oai:recercat.cat:10230/33803</identifier><datestamp>2025-12-22T13:45:50Z</datestamp><setSpec>com_2072_6</setSpec><setSpec>col_2072_452952</setSpec></header><metadata><qdc:qualifieddc xmlns:qdc="http://dspace.org/qualifieddc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:doc="http://www.lyncode.com/xoai" xsi:schemaLocation="http://purl.org/dc/elements/1.1/ http://dublincore.org/schemas/xmls/qdc/2006/01/06/dc.xsd http://purl.org/dc/terms/ http://dublincore.org/schemas/xmls/qdc/2006/01/06/dcterms.xsd http://dspace.org/qualifieddc/ http://www.ukoln.ac.uk/metadata/dcmi/xmlschema/qualifieddc.xsd">
   <dc:title>Transmission two: the great excursion (TT:TGE): the aesthetic, art and science of a composition for radio</dc:title>
   <dc:creator>Austin, Larry</dc:creator>
   <dc:creator>Boone, Charles</dc:creator>
   <dc:creator>Serra, Xavier</dc:creator>
   <dc:subject>Composers</dc:subject>
   <dc:subject>Music composition</dc:subject>
   <dc:subject>Sound</dc:subject>
   <dc:subject>Choirs</dc:subject>
   <dc:subject>Radio</dc:subject>
   <dc:subject>Determinism</dc:subject>
   <dc:subject>Musical performance</dc:subject>
   <dc:subject>LISP</dc:subject>
   <dc:subject>Musical aesthetics</dc:subject>
   <dc:subject>Musical modes</dc:subject>
   <dcterms:abstract>The three authors each explore an aspect of Larry Austin&amp;apos;s 1990 extended composition for radio broadcast. Composer-writer&#xd;
 Charles Boone examines the work for its musical and dramatic interest and for its significance as a hybrid of Horspiel, with elements of&#xd;
 theater, portraiture and sound collage. Its scope, means, intent, realization and compositional approach are elaborated by Austin, the com&#xd;
poser. Throughout his section, he intersperses aphorisms drawn from his conversations with the seven protagonists of his &amp;apos;sound movie&amp;apos;.&#xd;
 Austin&amp;apos;s collaborator, computer music scientist Xavier Serra, explicates the technical/theoretical genesis of TT:TGE&amp;apos;s computer&#xd;
generated speech sounds.</dcterms:abstract>
   <dcterms:issued>2018-02-05T09:36:49Z</dcterms:issued>
   <dcterms:issued>2018-02-05T09:36:49Z</dcterms:issued>
   <dcterms:issued>1991</dcterms:issued>
   <dc:type>info:eu-repo/semantics/article</dc:type>
   <dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
   <dc:relation>Leonardo Music Journal. 1991;1(1):81-8.</dc:relation>
   <dc:rights>© MIT Press (Publisher version at http://mitpress.mit.edu)</dc:rights>
   <dc:rights>info:eu-repo/semantics/openAccess</dc:rights>
   <dc:publisher>MIT Press</dc:publisher>
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