Audium has established a series of ideas, expanding the layers of controlled sound in space and evolving a paradigm for positioning and listening. Additionally, it has taken a new architectural approach to the performance-space, with a potential for flexibility through a myriad of environmental combinations.
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The Institute for Music and Acoustics is a production and research facility of the ZKM | Center for Art and Media Karlsruhe. In this paper, we present some general thoughts on spatial music and its implementations as a motivation for our efforts. We outline the development of the ZKM Klangdom, a multi-loudspeaker facility for spatial sound diffusion that aims to provide artists and composers with new possibilities.
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The recent history of multichannel audio at Sporobole, an artist-run centre located in Sherbrooke, Canada, is discussed based on a multidisciplinary exercise. The underlying working axes are presented, from the experience of hosting an experimental rock band in an artistic, electroacoustic, and multichannel context, to the centre’s development, which includes a multichannel sound studio in its recently renovated building.
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The multimedia nature of video games and the interactivity of the medium create new possibilities and purposes for nostalgia, as Bastion (2011), Fallout 3 (2008), and The Legend of Zelda series (1987 to present) illustrate. In Bastion, composer Darren Korb uses iconic signifiers of nostalgia to create an empathetic response within the player to the in-game character’s longing for a lost world and time. Fallout 3, in contrast, uses the player’s own familiarity with the popular music of the 1930s and ’40s to heighten the destruction of the world after an in-game nuclear war. Finally, The Legend of Zelda series, which made music a major part of its gameplay in Ocarina of Time, uses music indexically and symbolically in Twilight Princess to prompt a nostalgic response within the player that mirrors the response apparently felt by the main character in the game, Link.
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Étude d’un prélude II – Flutter echoes for string quartet is one of the first works to be based on the transcription, into standard notation, of millisecond-faithful micro-temporal data; the work was composed in 2009, premièred in 2010 and recorded in 2011. This article provides a first-hand account of its inception by the composer, Richard Beaudoin, and one of its first performers, Neil Heyde, cellist of the Kreutzer Quartet. The micro-temporal data was collected using the Lucerne Audio Recording Analyzer [LARA], a powerful software developed by the acoustic researchers Dr Olivier Senn and Lorenz Kilchenmann of the Hochschule Lucerne, Switzerland. The object of their analysis, and the source work behind Flutter echoes, is Martha Argerich’s 1975 Deutsche Grammophon recording of Chopin’s Prelude in E minor, Op. 28, no. 4.
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Minimalist compositions thwart most attempts at analysis given their remarkable simplicity; their structure is often deliberately obvious. The experience of a minimalist piece, however, is anything but simple. These compositions encourage the listener to ignore the past and the future, memory and expectation, and explore an extended present.
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This article explores contrasts between time and eternity in Louis Andriessen’s De Tijd from 1981. The music, although inspired by the experience of “complete tranquility”, appears to establish a dialectical opposition between musical elements signifying timelessness and measured time.
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There is a thread of epistemic theory connecting the discourse of twentieth-century aesthetics and phenomenology which asserts that works of art open up or disclose a sort of ‘world’, so to speak, as well as an associated view of reality that accords with the subject’s primordial and embodied sense of being.
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This paper considers the role of musical temporality and memory in the recent works of composer Bryn Harrison. In contrast to earlier pieces, the essay outlines the ways in which these pieces adopt a singular approach to musical structure which utilises high levels of repetition. It is argued that, through this approach, the listener is able to build up a composite understanding of the surface of the music over time. Comparisons are made to the scanning of a picture plane, and the work of Bridget Riley, James Hugonin and François Morellet are given as examples. The paper ends with a description of a new collaborative project with digital artist Tim Head which seeks to develop on this same phenomenological approach.
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