16-20 May Graduate Festival Goldsmiths 2011 - Presentation

Spatial Sound Design (Gerzon 1985, Pulkki 1997, Thiebaut 2005) is an exciting creative territory for music composition.  With this presentation I would like to outline the main topics of my research on how spatial sound information could be a powerful tool for creating original music:  - to outline the main technical arrangements, the technology in use (Gerzon 1985, Barrett-Berge 2010), the acoustic and perceptual features (Blauert 1997, Bregman 1994, Picinali 2007,) and the conceptual and cultural backgrounds (A. J. Baalman 2010, Smalley 2004, Cage 1956, [...]) - to investigate how the commonly perceived music parameters (such as pitch, articulation, “agogica”, accents, dynamics, timbre), textures style and formal structures (Delli Pizzi 2007, Garuti 2006) could appear different when experienced within a 3D Surround Sound environment, where they acquire a 3D spatial location, direction, speed and size  - to explore how specific practices of sound production and spatialisation may produce different results and may differently engage listeners (Delli Pizzi-Ignelzi-Rosato 2004, A. J. Baalman 2010, Cage 1957) - to approach the perennial question of the meaning of the word music and the cultural complexities related to its use (Strawinsky 1942, Celibidache 1998, Delli Pizzi 2007, Owings-Morton 1998, Blacking 1973) - to determine how choreography studies such as Laban's Choreutics, may be transferred to 3D sound by analogy, for possibly defining a Sound Choreography, and to promote direct practice with dance and movement in a 3D Surround Sound environment (Laban 1966, Johnson 1995, D. Wright 2005)  - to introduce the concept of 3D Music, as opposed to 3D Sound, and how this could interest music production, and music for dance production

preliminary ideas

If Music is the relation between sound and intellect, could 3D Music be the relation between intellect and sound composed in a 3D Surround Sound environment?

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.