Hostname: page-component-586b7cd67f-tf8b9 Total loading time: 0 Render date: 2024-11-29T14:40:07.107Z Has data issue: false hasContentIssue false
  • English
  • Français

Music, Space and Theatre: Site-specific approaches to multichannel spatialisation

Published online by Cambridge University Press:  25 October 2010

Ewan Stefani  and
Karen Lauke
Ewan Stefani*
Affiliation:
School of Music, University of Leeds, Leeds, LS2 9JT, UK
Karen Lauke*
Affiliation:
Department of Performing Arts, Edge Hill University, Lancashire, L39 4QP, UK
*
Email: *[email protected]; **[email protected]
Email: *[email protected]; **[email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces.

Type
Articles
Information
Organised Sound , Volume 15 , Issue 3: Sound ↔ Space: New approaches to multichannel music and audio , December 2010 , pp. 251 - 259
Copyright
Copyright © Cambridge University Press 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Adair, S., Alcorn, M., Corrigan, C. 2008. A Study Into the Perception Of Envelopment In Electroacoustic Music. Proceedings of the 2008 International Computer Music Conference, Belfast: ICMC, 342–345.Google Scholar
Amacher, M. 2009. Music for Sound Joined Rooms. www.maryanneamacher.org/Amacher_Archive_Project/Entries/2009/10/24_music_for_sound_joined_rooms.html.Google Scholar
Brown, R. 2010. Sound: A Reader in Theatre Practice. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
Cardiff, J. 2010. The Forty Part Motet. www.cardiffmiller.com/artworks/inst/motet.html.Google Scholar
Chippewa, J. 2008. [Photo Essay] Inventionen / SMC08 (Berlin). http://cec.concordia.ca/econtact/10_4/chippewa_inventionen08.html.Google Scholar
Davies, S. 2010. Perceiving Melodies and Perceiving Musical Colors. Review of Philosophy and Psychology 1(1): 19–39.CrossRefGoogle Scholar
Emmerson, S. 2009. Living Electronic Music. Aldershot: Ashgate.Google Scholar
Handelman, E. 2010. Maryanne Amacher – Interview by Dr Eliot Handelman. www.colba.net/~eliot/amacher.htm.Google Scholar
Harrison, J. 1999. Diffusion: Theories and Practices, with Particular Reference to the BEAST System. http://cec.concordia.ca/econtact/Diffusion/Beast.htm.Google Scholar
IOU. 2010. www.ioutheatre.org.Google Scholar
Lauke, K. 2009. Memories Unearthed. www.karenlauke.com/2009/09/sonic-environments.Google Scholar
Licht, A. 2009. Sound Art: Origins, Development and Ambiguities. Organised Sound 14(1): 3–10.CrossRefGoogle Scholar
Lotis, T. 2003. The Creation and Projection of Ambiophonic and Geometrical Sonic Spaces with Reference to Denis Smalley’s Base Metals. Organised Sound 8(3): 257–267.CrossRefGoogle Scholar
McLeran, A., Roads, C., Sturm, B.L., Shynk, J.J. 2008. Granular Sound Spatialization using Dictionary-Based Methods. In Proceedings of the 5th Sound and Music Computing Conference, Berlin, Germany.Google Scholar
Mooney, J., Moore, D. 2008. Resound: Open Source Sound Spatialisation. Proceedings of the 2008 International Computer Music Conference, Belfast, UK.Google Scholar
Normandeau, R. 2009. Timbre Spatialisation: The Medium is the Space. Organised Sound 14(3): 277–285.CrossRefGoogle Scholar
Royal Exchange Theatre. 2010. www.royalexchangetheatre.org.uk.Google Scholar
Smalley, D. 1997. Spectromorphology: Explaining Sound-Shapes. Organised Sound 2(2): 107–126.CrossRefGoogle Scholar
Smalley, D. 2007. Space-form and the Acousmatic Image. Organised Sound 12(1): 35–58.CrossRefGoogle Scholar
Stefani, E., Mooney, J. 2009. Spatial Composition in the Multichannel Domain: Aesthetics and Techniques. Proceedings of the 2009 International Computer Music Conference, Montreal: ICMC, 415–418.Google Scholar
Theatre Design 101. 2009. http://sceno.org/theatre-design–101.CrossRefGoogle Scholar
Torchia, R.H., Lippe, C. 2003. Techniques for Multi-Channel Real-Time Spatial Distribution Using Frequency-Domain Processing. Proceedings of the 2003 International Computer Music Conference, Singapore: ICMC, pp. 41–44.Google Scholar
Tutschku, H. 2009. Hans Tutschku. www.tutschku.com.Google Scholar
Wheeler, D., Sobey, R. 2007. IOU Waylaid. www.ioutheatre.org/html/waylaid.html.Google Scholar