Felipe Otondo | Universidad Austral de Chile (original) (raw)
Felipe studied acoustics in Chile where he started composing and performing music for experimental theatre developing several performance projects with actors and musicians. In 1999 he moved to Denmark to do post-graduate studies in sound perception at Aalborg University focusing on spatial sound and timbre perception. He studied composition at the Carl Nielsen Academy with the Anders Brødsgaard where he composed and premiered various compositions and took part in several interdisciplinary projects with visual artist. In 2005 he pursued his composition studies at the University of York in England with Ambrose Field and Roger Marsh focusing in electroacoustic composition and music theatre. His music has been widely played in festivals across Europe, North and South America, as well as in Australia. He has received awards and prizes in composition competitions in Austria, Bulgaria, Brazil, Czech Republic, France, Italy and Russia. Felipe is currently a lecturer at the Institute of Acoustics at Universidad Austral in Chile and his music is released by the British label Sargasso.
Phone: +5663221415
Address: Instituto de Acústica, Universidad Austral de Chile, Casilla 567, Valdivia, Chile.
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Papers by Felipe Otondo
The role of spatial design in music has become more prominent in recent years, mostly because of ... more The role of spatial design in music has become more prominent in recent years, mostly because of the affordability of powerful software and hardware tools. Although spatial audio tools are widely used nowadays in studios and concert halls, there are only few examples of robust and comfortable wearable sound systems with a suitable acoustic response. A wireless body-worn loudspeaker prototype featuring original costume elements, a hybrid full-range loudspeaker array and an improved acoustic response was designed and implemented. The size, shape and acoustic performance of the prototype was optimised using data gathered from anechoic measurements and interviews with performers and audiences. Future developments of this project will consider the implementation of an extended multi-channel performance platform to explore sonic and spatial relationships created by several wearable devices on stage synchronised with a multi-loudspeaker diffusion system.
A new method for the representation of sound sources that vary their directivity in time in aural... more A new method for the representation of sound sources that vary their directivity in time in auralizations is introduced.
A recording method with multi-channel anechoic recordings is proposed in connection with the use
of a multiple virtual source reproduction system in auralizations. Listening experiments designed to validate the
quality of the reproduction method compared with a fixed directivity representation have showed that there is a
clear improvement in the timbral quality of the reproduced sound. The improvement represented by the system
regarding the spaciousness of sound did not prove to be significant. Further applications of the method are considered
for ensembles within room auralizations as well as in the field of studio recording techniques for large
instruments. A part of this article was published previously in [1].
Measurements of the directivity of musical instruments are presented as part of the study of the ... more Measurements of the directivity of musical instruments are presented as part of the study of the influence of
their representation in room acoustic simulations and auralizations. Pairs of measured and averaged directivities
have been used both for room simulation comparisons and as a basis for listening experiments with auralizations.
Room simulation results show a clear influence of the changes in the representation directivity on the distribution
of acoustical parameters in the room. The results of the listening experiments with auralizations show that some
changes produced by directivity variations can be perceived by the listener. Among these changes, loudness was
perceived in the highest degree, followed by reverberance and clarity.
‘Interdisciplinarity’ has become an ambiguous and slightly misleading term; people appear to have... more ‘Interdisciplinarity’ has become an ambiguous and slightly misleading term; people appear to have quite different ideas of what it means. One topic that is shared among various art disciplines and is believed to help relating to and understanding practical interdisciplinary features of an artwork is the role of the physical space. This article examines the role that spatial sound can play as a teaching enhancement tool exemplified in successful examples of interdisciplinary students’ collaborations. Challenges of an integrated interdisciplinary curriculum design for art courses are discussed taking into account relevant issues like contents, assessment and resources.
This paper describes a survey of contemporary approaches towards the use of spatial design in ele... more This paper describes a survey of contemporary approaches towards the use of spatial design in electroacoustic music, focusing on the type of spatial systems used by a sample of composers and the way they conceive the use of space in their music. Comparing the results with information gathered from seventeen articles by composers written on the topic in 1997, it is shown that composers nowadays are more used to working with different types of spatialisation systems than before. There is also a considerable increase in the use of surround 5.1 as well as four-and eight-channel systems and a decrease in the use of stereo. The compared results also show that, in general, composers nowadays seem to be less concerned with performance and interpretation issues as well as technical aspects of spatialisation. Further studies could consider a more detailed investigation of how the new spatialisation tools have shaped the aesthetical character of the music composed in recent years.
The role of spatial design in music has become more prominent in recent years, mostly because of ... more The role of spatial design in music has become more prominent in recent years, mostly because of the affordability of powerful software and hardware tools. Although spatial audio tools are widely used nowadays in studios and concert halls, there are only few examples of robust and comfortable wearable sound systems with a suitable acoustic response. A wireless body-worn loudspeaker prototype featuring original costume elements, a hybrid full-range loudspeaker array and an improved acoustic response was designed and implemented. The size, shape and acoustic performance of the prototype was optimised using data gathered from anechoic measurements and interviews with performers and audiences. Future developments of this project will consider the implementation of an extended multi-channel performance platform to explore sonic and spatial relationships created by several wearable devices on stage synchronised with a multi-loudspeaker diffusion system.
A new method for the representation of sound sources that vary their directivity in time in aural... more A new method for the representation of sound sources that vary their directivity in time in auralizations is introduced.
A recording method with multi-channel anechoic recordings is proposed in connection with the use
of a multiple virtual source reproduction system in auralizations. Listening experiments designed to validate the
quality of the reproduction method compared with a fixed directivity representation have showed that there is a
clear improvement in the timbral quality of the reproduced sound. The improvement represented by the system
regarding the spaciousness of sound did not prove to be significant. Further applications of the method are considered
for ensembles within room auralizations as well as in the field of studio recording techniques for large
instruments. A part of this article was published previously in [1].
Measurements of the directivity of musical instruments are presented as part of the study of the ... more Measurements of the directivity of musical instruments are presented as part of the study of the influence of
their representation in room acoustic simulations and auralizations. Pairs of measured and averaged directivities
have been used both for room simulation comparisons and as a basis for listening experiments with auralizations.
Room simulation results show a clear influence of the changes in the representation directivity on the distribution
of acoustical parameters in the room. The results of the listening experiments with auralizations show that some
changes produced by directivity variations can be perceived by the listener. Among these changes, loudness was
perceived in the highest degree, followed by reverberance and clarity.
‘Interdisciplinarity’ has become an ambiguous and slightly misleading term; people appear to have... more ‘Interdisciplinarity’ has become an ambiguous and slightly misleading term; people appear to have quite different ideas of what it means. One topic that is shared among various art disciplines and is believed to help relating to and understanding practical interdisciplinary features of an artwork is the role of the physical space. This article examines the role that spatial sound can play as a teaching enhancement tool exemplified in successful examples of interdisciplinary students’ collaborations. Challenges of an integrated interdisciplinary curriculum design for art courses are discussed taking into account relevant issues like contents, assessment and resources.
This paper describes a survey of contemporary approaches towards the use of spatial design in ele... more This paper describes a survey of contemporary approaches towards the use of spatial design in electroacoustic music, focusing on the type of spatial systems used by a sample of composers and the way they conceive the use of space in their music. Comparing the results with information gathered from seventeen articles by composers written on the topic in 1997, it is shown that composers nowadays are more used to working with different types of spatialisation systems than before. There is also a considerable increase in the use of surround 5.1 as well as four-and eight-channel systems and a decrease in the use of stereo. The compared results also show that, in general, composers nowadays seem to be less concerned with performance and interpretation issues as well as technical aspects of spatialisation. Further studies could consider a more detailed investigation of how the new spatialisation tools have shaped the aesthetical character of the music composed in recent years.