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Advisor(s)
Abstract(s)
We present Soniferous Resonances, an ongoing collection of electroacoustic composition
pieces that intersect music, digital technologies and architecture. The creative impetus
supporting this research is grounded in the interchange of the following two concepts: 1) the
phenomenological exploration of the aural architecture [1], particularly the reverberation as a
sonic effect [2] through music performance and 2) the real time sound analysis of both the
performance and the reverberation (i.e. impulse responses) intervallic content — which
ultimately leads to a generic control over consonance/dissonance (C/D). Their conceptual
and morphological nature can be understood as sonic improvisations where the interaction
of sound producing bodies (e.g. saxophone) with the real (e.g. performance space) and the
imaginary (i.e. computer) acoustic response of a space results in formal elements mirroring
their physical surroundings.
Particular emphasis is given to spectromorphological manipulations by a large array of
“contrasting” digital reverberations with extended control over the sound mass [3] and its
musical interval content across a continuum between pitched and consonant to unpitched
and dissonant sounds. Two digital applications developed by the authors are seminal in
Soniferous Resonances: Wallace [4] and MusikVerb [5]. The first is a navigable user-control
surface that offers a fluid manipulation of audio signals to be convolved with several
“contrasting” digital reverberations. The second offers refined (compositional) control over
the interval content and/or C/D levels computed from the perceptually-inspired Tonal Interval
Space [6] resulting in an automatically adaptation of harmonic content in real time.
Soniferous Resonances aims at pushing the boundaries of musical performances that are
formally tied to its surrounding space, as well as triggering new concepts and greater
awareness about the sublime qualities of experiencing aural architecture.