Music and Space: Past Experiences, Future Perspectives (Musica e spazio: esperienze passate, prospettive future). (original) (raw)
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This article points to two main objectives: first to demonstrate the ways in which Gérard Grisey, Luigi Nono and Peter Ablinger approach the representation of space in present-day composition. The second is to provide some keys to the essential elements conditioning the meanings and sensations listeners perceive in these composers’ works. The interaction arising from the possibilities of the inner space of sound and the place where a concert takes place originates new forms of acoustic and temporal processes in Gérard Grisey, different types of symbiosis with architectonic space in Luigi Nono and an active union with the surroundings in Peter Ablinger. These concepts are dealt with through some of their most representative works. A substantial part of the contributions of the three has a single purpose: to renew perception of music on the basis of an on-going interrelation between listening possibilities, the configuration of sound in time and the need to redefine the meaning of the musical space.
When listening to specific musical compositions in which physical space is employed with an aesthetic role, we can hear sound sources` spatial properties in the same way as we do it in the case of environmental sound sources. In this essay, I will expand the application of a model for the spatial experience of sound sources to the experience of listening to the musical sound sources of two musical compositions by the Italian composer Luigi Nono. In order to do that, I will briefly summarize how we experience sound sources` spatial properties in the case of environmental sounds; I will then mention the different kinds of physical space which we might be able to hear in the case of musical listening, and I will finally analyze Luigi Nono's "Hay que caminar" soñando (1989) for two violins and La lontananza nostalgica utopica futura (1988) for solo violin and 8-track tape to show how the model of the experience of environmental sound sources applies also to these musical cases. keywords musical sound, environmental sound, spatial perception, music, aesthetic experience, sound
Space, sound and acousmatic music
Species of Spaces: The four main spatial categories. Four categories of space emerge from this particular practice of interpretation and knowledge of the acousmatic repertoire: The “surround space” immerses the listener in a "bath" and is opposed to the “sound source” space which localizes sounds; the “geometry space” in a work structures plans and volumes. These three categories relate mostly to multichannel. The fourth, “Space illusion”, consciously or not, the subject works stereo format, which creates the illusion of depth of field on the screen of two speakers. The spatial interpretation The console of projection (fader, multitouch surface, interactive gestures etc.) is a musical instrument and its "operator" a performing musician. This requires him some virtuosity (conditioned by the speakers system he has chosen, and the ergonomics of the sound projection instrument as well), stylistic knowledge of the repertoire, graphic statement of the simplified works and relevant to the spatialisation and maximum memorization of the work. The interpretation of acousmatic music tends to bind different spatial figures that reinforce the writing of the work; the figures highlight existing or create new ones. The stereo works also leave more freedom of choice to the interpreter. Sixteen figures are listed, with their musical function. The different types of existing spatial instruments, their specific examples Some examples, diagrams and explanations show how various systems are designed for spatialisation and the acousmonium especially as it was designed by François Bayle in 1974. The multiphonics The interpretation of muliphonic works raises new requirements with both technical (drivers, interfaces), types of transducers, and aesthetic. Comparison with the interpretation of stereo works The stylistics Depending on the character of each piece, one can, for a different work space, focusing on some aspect of writing: iconicity, movement, unmixing of polyphony, and phrasing changes, subjectivity matters, fluidity of the trajectories. The figuralism The figuralism, by playing with spatial figures, seems a royal way to give meaning and justify the space as an element that enhances the expressiveness of the musical work. Space for what? : Composed space As for any musical element, the space of sound is attributed a level of musical function decided by the composer. Nowadays technology allows for any variations in the use of space, from a micro event (static or dynamic spatial location for each sound) to a macro structure (whothe spatial structure, dynamic or static, mono or polyphonic for each section, phrases or group of events) •Among other possibthe levels, I have selected the following 6 which, to me, are particularly useful and expressive: Abstract level of space, conceived of plans, volumes, movements, or geometric figure Structural level of space, used to emphasise sections, transitions or recall Decorative level of space, often in movement, added to an event to strenghthen its meaning or temporary function Figurative level, relating space to the imagination, the key feature, the metaphor Archetypal level of some obvious space figures, such as the wave (rocking movement), circthe (locked-in effect), explosion... Madrigal level of the expressive strengthening of elements external to the music itself (text, image,...) : through figures, movements, and appropriate spatial situations.
SPace, sound and Acousmatic music completed+illustrations
Acousmatic, perfect testing ground for spatial perception. The listening conditions of acousmatic music (no real established sound source) are approaching to those of a blind person who senses space by fine listening acoustic qualities of his physical environment. The "eyes closed" abolish the physical limits of the place, they allow the imagination to deploy its spatial sensations. Species of Spaces: The four main spatial categories. Four categories of space emerge from this particular practice of interpretation and knowledge of the acousmatic repertoire: The " surround space " immerses the listener in a "bath" and is opposed to the " sound source " space which localizes sounds; the " geometry space " in a work structures plans and volumes. These three categories relate mostly to multichannel. The fourth, " Space illusion " , consciously or not, the subject works stereo format, which creates the illusion of depth of field on the screen of two speakers. Ambiophonic Space.
The Spatial Artistic Model in Music
Philosophy International Journal, 2020
The article is an overview of the aesthetic question of space in music. The study begins from the vague to evident perceptions of space in music in the analogy with the physical high pitch of sounds. These are associative sensations with the movement of things in the space like distance or rapprochement when the sound goes up and down. Then, the spatial character of pitch focused on the two-dimensionality of vertical and horizontal dimensions in music and the new spatial sensation similar to linear perspective in graphic arts that suggests an analogy of the space between painting and music. Next, the new concept of tonal gravitation like motion energy which moves from one tone to tone as the main reason for our musical space-sensation, so to speak, the sounding perspective with the force of tonal gravitation that produces the effect of depth or third dimension in music. Finally, our contribution to the spatial artistic model in the conception of musical contents as a reflection of human activity expressed by intonations, in which our imagination completes the spatial vacuum of music.
Music 547 (Fall 2015): Performance Spaces of the Baroque
This seminar explores how the insights and methodologies of sound studies might be used to further our understanding of the musical past. Where the sounds of sound studies are usually those of modernity, we will strain to hear the more distant sonic past and identify its performance spaces. Our explorations will range over the many forms of music that resounded in Europe’s towns and cities between 1600 and 1750, and we will attend in particular to those sounds (musical and otherwise) that shaped or claimed space, and articulated or extended the bounds of place. With this in mind, we will focus less on genre and style, musical text, and compositional strategy (although these will be our starting points), than on the concepts of sound, listening, and the listener that are foundational to sound studies. What were the spaces in which sound was deployed, and in which spaces did specifically musical sounds travel? Who were the listeners, and what were the modes of listening that informed their reception of sound? And finally, what are the limits of sonic history? The diverse performance spaces that we consider are architectural and documentary, permanent and temporary, real and speculative; they will include not only those that were new to the Baroque period, but also those that were inherited from the Renaissance. Following an opening unit in which we collaboratively draw up the central questions that we will pursue and familiarize ourselves with established methodologies, we will adopt a geographic approach. We will ground specific pieces and sounds in specific spaces and, as far as possible, connect them to specific kinds of listeners or listening communities. Readings will include relevant primary source excerpts (e.g. Bernhard, Kircher, Rameau), foundational texts in sound studies (e.g. Sterne, Corbin), studies of past sounds and spaces (e.g. Rath, Blesser and Salter, Atkinson, Smith), and recent sonically oriented musicological work (e.g. dell’Antonio, Fisher, Dillon, Tcharos). Readings (ca. 120 pp. per week) will be in English, although I will make reference to important contributions to the literature in other languages. Participants will write a research paper, a “conference” version (20 minutes long) of which will be presented in the final class session. In addition, twice in the semester (between Weeks 5 and 14), participants will lead discussion, focusing on one article and connecting it—as far as possible—to one of the pieces of music assigned that week. There will also be short weekly written responses to the readings and listening.
ACTES PROCEEDINGS, 2000
Many different spaces coexist and interconnect for any listener to music played over speakers or other means where there is no visible source of the sound. These spaces could include the physical space of the concert hall, a representation of space conceived in the perceived knowledge of the social practice of people getting together to listen to music in groups; the social space of the listeners; the virtual space of the piece of acousmatic music; the representation of perceived, conceived or lived space in the piece; as well as the representational space of the sound work and the mental space the individual listener inhabits while listening, a space that is possibly unique to sonic experience. In this paper I shall discuss how these spaces are produced and coexist; how our embodied experiences of space can be used to produce new means of representation and new forms of expression through the production of space in sound works; and investigate spatial mimesis as a new area of discourse in sonic art.
Camera Musica: Compositions in music and space
Proceedings of the 29th International Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe), 2011
The relationship between music and architecture in the European context, the similarities, interdependencies and differences of both disciplines, served as starting point for the academic project 'Camera Musica'. In this project interior design students composed animated spatial interpretations based on the characteristics of pieces of music-video clipsby using visualization-and compositing-software. The goal was to convey specific knowledge in animation techniques as digital design tool and to discover experimental design concepts which arise between the disciplines of music and space.