Acousmatic Composition Lesson 2

There were two main points to focus on this week. The first being able to rationalize the way we setup the equipment in the hall. This meant thinking about the positioning of the speakers, and how this relates to their positions on the mixer. All kinds of performance decisions can be affected by the speaker setup; creating transitions from one speaker to another, making the sound encircle the room, switching between heights etc. The setup that was used meant that the large Genelics were numbered 1, 2, 3, 4, and the smaller ones on the floor were 5, 6, 7, 8. This meant that the eight faders used to perform with on the mixer were split into two sections: high and low. There are drawbacks to this setup, mainly in the fact that if the performer wants to project the sound in a circle, an irregular fader pattern would have to be used. However, it is important to note that there is no default setup when diffusing over eight channels. The idea is that it can be customized to suit certain purposes.

The second subject that was discussed was the idea of a, “compositional transition network”. This helped to visualize the processes involved when creating an Acousmatic composition. Starting with the act of recording sounds, the composer then makes compositional decisions based on those recordings [*]. These decisions can also be affected by the kinds of performances that could be achieved. Finally comes the setup of equipment, which directly relates to way the composer can diffuse their piece. This simple thought process seems like a helpful starting point when beginning the task of writing a piece of Acousmatic music.

[*] I have taken a microphone to my room and recorded a variety of sounds, for example: sliding a violin bow across the side of a wine glass, the sound of a camera flash, doors closing, coins being dropped, etc. I have started experimenting with sounds in a way that was briefly discussed in lesson 1. This was the idea of taking a sound and using any rhythmic qualities within it to govern pace and structure (as opposed to using the grid in a sequencer). Some very interesting results have occurred, especially when different sounds are overlapped. Rhythmic articulations that might not otherwise have been considered become apparent.

I have begun to look into the works of Acousmatic composers, particularly those of Denis Smalley. I am particularly interested in the way he transforms the sound of a single instrument and creates a great sense of movement which cries out to be diffused over multiple channels.

Acousmatic Composition Lesson 1

“Acousmatic, adjective: is said of a noise that one hears without seeing what causes it”

I am familiar with some of the more prominent composers of Acousmatic Music from our ‘Fundementals’ lectures last year. The idea of separating a sound from its physical origins can greatly enhance a listener’s experience, especially when listening to artists such as Schaeffer, Harrison, Smalley etc. The concept of Acousmatic Composition seems quite challenging in view of the fact that the composer must detach themselves from their own work. With this in mind I am prepared to embrace new creative techniques in an attempt to understand the process of creating sound/music that can be called ‘Acousmatic’

Our first workshop introduced the practice of setting up an 8 – channel surround sound system in the recital hall. The setup consisted of four Genelics (on floor stands) placed evenly between the four that are already hanging in the hall. This creates a circle that encompasses the mixing desk in the middle. We then listened to some musical excerpts diffused over the system, and Julio gave examples of some of the diffusion techniques that can be used to move the sound through space.

This demonstration made me think that it is the live diffusion process that will govern the way in which I create my piece; I will have to take into account the benefits and limitations of diffusing over eight speakers, and mould the piece into something that takes full advantage of this.