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