electroacoustic composition – DIVERGENCE PRESS

Aural Territories: how phenomenology taught me how to compose electroacoustic spatial music

Posted on 1st December 20149th May 2019 by Frederico Macedo (University of the State of Santa Catarina, Brazil)

In this article I describe the process of creation, performance, and reception of two sets of multichannel pieces - Journey I and II and Night Song I and II - performed as part of Aural Territories: a concert of spatial electroacoustic music. The main philosophical foundation for this experience has been the views on phenomenology as conceived by Merleau-Ponty (2004) and Dufrenne (1973). In these pieces, I explore compositionally three aspects of the interrelationship between sound and space that were fundamental for my theoretical and practical understanding of electroacoustic spatial music: acoustic space, sound spatialisation, and reference.

New developments for spatial music in the context of the ZKM Klangdom: A review of technologies and recent productions

Posted on 1st December 20149th May 2019 by Ludger Brümmer, Götz Dipper, David Wagner, Holger Stenschke & Jochen Arne Otto (ZKM | Institute for Music and Acoustics)

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.

Electroacoustic Movies: A visual music practice and its contexts

Posted on 2nd June 20149th May 2019 by Nick Cope (Xi’an Jiaotong-Liverpool University, China)

This article presents an overview of a visual music collaboration between film-maker Dr Nick Cope and electroacoustic composer Professor Tim Howle. The article draws heavily on research for the former’s recently completed PhD by Existing Published Work, Northern Industrial Scratch: The History and Contexts of a Visual Music Practice (University of Sunderland, October 2012). This article specifically addresses the contexts of the collaboration Electroacoustic Movies, which forms one element of a wider body of work addressed in the PhD. With online links directly to the works in question, the critical and historical contexts with which the practice engages are examined and elaborated.