In a 3D Surround Sound environment, it is possible to recreate the acoustical illusion of sound movement, speed, size, direction, and location: if these are incorporated into the musical idea, it may result in aesthetic and perceptual innovation.
A multifaceted investigation must be carried out in order to confirm this hypothesis, illustrated via a specifically composed portfolio of compositions and acoustic examples. I intend to:
research if, within a 3D Surround Sound, it is possible to recreate and experience an effective, stable and standard acoustical illusion of sound movement, speed, size, direction, and location
research if it is then possible to merge the new acoustical spatial effects into the musical idea, at its conception; if the spatial effects sufficiently support the sound; and if it is possible for the sound to exist as a coherent musical unity in space
consider the type of sounds involved (synthesized/recorded, monophonic/multichannel) and their relation to spatial effects, examining how their characteristics may imply a preferred spatial use
collect and analyse a broad set of musical ideas, designed for several spatial situations, and explore their intelligibility in relation to specific spatial movements and 3D shapes
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to investigate the different role and function of tempo, rhythm, harmony, and timbre constructions in the process of creating poles of attraction in music structure, when layered within a 3D spherical space as rendered with Ambisonic technology
to understand how the dynamics of tension-distension, and the morphology of a musical structure could be interpreted in a 3D Surround Sound environment
to consider how the physical presence of sound and its perception could be used as compositional tools
to explore the subject of timbre metamorphosis and sound surrealism, suggested by spatial modifications, and its use to create meta-music references
to investigate the expressive potential of illusory and realistic movement of sound, by analysing the compositional use of sound speed differences and trajectories, and to investigate whether analogies and oppositions of sound spatial positioning and size could prompt a reinterpretation of the significance of standard musical narration techniques and revive their practice
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Considering the illusory perception of sound movement within a 3D Surround Sound environment, I would investigate how the interrelationship between dance choreography and 3D sound movement design might function. I would be interested to practically explore how 3D Music could suggest and favour spatial perception, audience immersion, and emotional participation, in order to communicate expression via analogies, parallels, contrasts and oppositions to body movement. I would be keen to engage in collaborations with other departments at Goldsmith or even outside of the University.
Using analytic observation and data collection, focussed on the influence of a 3D Surround Sound setup on audiences’ perceptual awareness, aural sensitivity, and emotional response, I would investigate the anthropological value of evolving approaches to music venues, auditioning spaces, music diffusion, technology and devices, and content selection and appreciation.
