Seminar list • Abstract • Main Text
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Space in Computer Music space, spatial techniques, and composition. Monophonic Spatial Cues Turenas, by John Chowning Tschumi, B. 1994. "Architecture and disjunction", Cambridge, MIT Press.(UW Library#: NA2543.S6 T78 1994). Chapter I, Questions of Space pp.53-62 Di Liscia, O. P. 2000. "Spatial Listening and its Computer Simulation in Electronic Music"* Spatial Listening (I) Listening Planes. Interaural Time Difference (ITD). Interaural Level Difference (ILD). Head Related Transfer Functions (HRTF). Two-channel Panning Techniques. The Precedence Effect. Moore, R. 1994. "Elements of Computer Music"*, New Jersey, Prentice-Hall. (UW Library#: MT723 .M6 1990). Chapter 4, Rooms. Sections 1 to 4.2.7, pp.340-373 Short study on two-channel dynamic location. Spatial Listening (II) Virtual (or phantom) sources. Location cues (perceptual and cognitive). The Doppler effect and moving sources. Distance cues in open space and reverberant enclosures. Four-channel Panning Techniques. Kendall, G. S. 1995. "A 3-d Sound Primer: Directional Hearing and Stereo Reproduction." Computer Music Journal. Vol.19#4, pp.23-46. Short study on four-channel dynamic location. Stereo Microphone Techniques Localization by time differences (spaced pair). Localization by amplitude differences (coincident pair). Localization by amplitude and time differences (near-coincident pair/ ORTF). Special techniques: Mid-side (MS) and Blumlein stereo. Stereo imaging theory. Reading: Bartlett, B. 1991. "Stereo Microphone Techniques", Boston, Focal Press. Chapter 3, Stereo Imaging Theory, pp.27-52. Assignment: Short study on four-channel dynamic location (same as last week). 10/29 5. Ambisonics (I) From MS stereo to full Sound Field recording. Sound Field microphone theory and practice. First order encoding equations and the B Format. Simple sound field manipulation using the Mk V processing box. First order general decoding equation. Reading: Malham, D. G. 1995. "3-D Sound Spatialization using Ambisonic Techniques", Computer Music Journal. Vol.19#4, pp.58-70. Assignment: Experimental studio work with the Sound Field microphone (contact Cris Ewing for studio session). 11/5 6. Sound-Image Composition (Trevor Wishart) Composing with sounds vs. composing with sound-images. Sound-image as a metaphor. Recording techniques for capturing sound-images. Aspects of landscape composition and form. Case Study: Red Bird: A political prisoner's dream (1977). Reading: Emmerson, S. (Editor) 1986. "The Language of Electroacoustic Music", London : Macmillan.(UW Library#: ML1092 .L36 1986) Chapter 3, Sound Symbols and Landscapes, by trevor Wishart, pp.41-61. Wishart, T. 1996. "On Sonic Art", Amsterdam : Harwood Academic Publishers. (UW Library#: ML3805 .W57 1996) Part 2: Landscape. Assignment: Location recording using the portable soundfield microphone (impulse responses of Brechemin Aud.)