I am not going to lie; this reading was really hard to get through. I had to go over it a few times to try and understand everything that the author was trying to get across, and I am not sure I quite understand yet. This chapter is about sound and sound glitch, that part was obvious enough, but the ways that Krapp breaks down the chapter is very thorough. His breakdown of the history of sound glitch is very interesting. I did not know how far back people had been attempting to combine the medium in which the music is being presented and the composition or the type of sounds that the artist wants. The fact that people have been messing with sound for so many years doesn’t surprise me, we as a species seem to be fascinated with our abilities to generate certain sounds.
This chapter brings up how noise plays an important factor in the production of sound, noise being what exists between the major sounds. Krapp writes about how the invention of the computer has effected the way sound has been produce since at least 1956, with the Music Compiler I. With these new tools there are new possibilities for what can be done. Unforeseen errors and the glitches as well as clicks and other things that are repeatable and have the possibility to be randomized are vital to the production of new sounds.
Many times people don’t take the medium in which the sound is being presented into consideration when thinking about music. There are certain things about the different presentations that can be ignored by most people, but they do make difference in how sound is taken in. There is a difference to the imperfections and scratchy sounds of a record compared to the clean sound of digital file. Glitching sound, while keeping making the computer stand out on its own, forms a bridge between the human hand creating the sound and the machine.