thesis
posted on 2024-11-16, 01:27 authored by Etienne Deleflie Electroacoustic composers have developed a variety of approaches to the use of space within music. Relatively recent technological and scientific advancements have augmented synthesised space with the promise of verisimilitude: the sensation of spatially authentic audible reality. How does this promise correspond to musical concerns? The thesis develops a new perspective in which composers' interest in spatial verisimilitude is characterised as more concerned with auditory illusion, than with notions of space. This perspective describes a departure from past compositional engagement with isolated spatial parameters, and signals a movement towards the pursuit of realistic illusion within music. The exploration of this pursuit, and its significant technological mediation, highlights fundamental and complex tensions that affect spatial music composition.
History
Year
2013Faculty/School
Faculty of Creative ArtsLanguage
EnglishNotes
The supplementary material for this thesis consists of audio files. Electroacoustic composers have developed a variety of approaches to the use of space within music. Relatively recent technological and scientific advancements have augmented synthesised space with the promise of verisimilitude: the sensation of spatially authentic audible reality. This supplementary material consists of audio files. Each file is made available in 3 formats: 4 speaker (or quad) surround sound; stereo; and B-format (fist order horizontal). Sets of files include: Fluoresce - is a spatial gesture created using two randomly generated images (documented in the thesis). The pixel data contained within the images drive the audio synthesis. Drivetrain - uses a recording of a drummer playing a simple rhythm. Hundreds of instances of the recording are distributed in space, and triggered to simulate a forward movement towards the listener. Lost Corps - distributes hundreds of recognisable pitched sounds over a large area surrounding the listener. Hammer - attempts to simulate the sound of many drummers moving in groups. Gorged - uses a range of spatial and timbral gestures that are born out of the exploration of the idiosyncratic characteristics of ImageSynth. It is the first complete composition First Flight Over an Island Interior - is the result of the conception of a compositional structure that is finalised before being rendered by ImageSynth. It uses a just-intonation grid of notes designed by Kraig Grady. https://tr.uow.edu.au/uow/items/093dcd87-9867-44c6-ac74-8689cc10b811/1/Disclaimer
Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong.