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

Macedo, Rederico (2014) Aural Territories: how phenomenology taught me how to compose electroacoustic spatial music. Divergence Press, 3 (1). ISSN 20523467

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Abstract

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. First I describe shortly some aspects of my theoretical research in sound spatialisation: the phenomenological approach and the use of space as a structural element in composition. Then I describe the process of creation of the pieces and the implementation of the 16-speaker system used in the concert. In the last section I describe the reception of the pieces in the concert situation, as registered in a questionnaire filled by the listeners. In the conclusion I discuss what I learnt from the whole process and some implications of the phenomenological approach to electroacoustic music in general and electroacoustic spatial music in particular.

Item Type: Article
Subjects: M Music and Books on Music > M Music
M Music and Books on Music > ML Literature of music
Schools: School of Music, Humanities and Media > CeReNeM
Depositing User: Megan Taylor
Date Deposited: 20 Sep 2017 09:33
Last Modified: 20 Sep 2017 09:33
URI: http://eprints.hud.ac.uk/id/eprint/33441

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