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Composing for the Performance Space : = A Practice-Based Investigation on the Design of Interfaces for Spatial Sound and Lighting.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Composing for the Performance Space :/
其他題名:	A Practice-Based Investigation on the Design of Interfaces for Spatial Sound and Lighting.
作者:	Gottschalk Costabile, Ian.
面頁冊數:	1 online resource (150 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-09, Section: A.
Contained By:	Dissertations Abstracts International83-09A.
標題:	Design. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29133012click for full text (PQDT)
ISBN:	9798209903284

Composing for the Performance Space : = A Practice-Based Investigation on the Design of Interfaces for Spatial Sound and Lighting.
Gottschalk Costabile, Ian.

Composing for the Performance Space :A Practice-Based Investigation on the Design of Interfaces for Spatial Sound and Lighting. - 1 online resource (150 pages)

Source: Dissertations Abstracts International, Volume: 83-09, Section: A.

Thesis (Ph.D.)--The University of Liverpool (United Kingdom), 2022.

Includes bibliographical references

This thesis presents a compositional portfolio that incorporates design methods for creating interactivity between music, spatialised multichannel audio and lighting. This is presented in the form of musical scores, commentary, and a summary of interfaces for sound spatialisation and lighting, including technical studies that present new design concepts and industrial prototypes. Furthermore, it reveals a new mixed-media format, Sound Canvas, that can be used for the display of interactive music and sound art within galleries.Spatial music has, for some years, been extensively explored in experimental music through different analogue and digital systems. Examples can be found in the electroacoustic works of Schaeffer (e.g., Symphonie Pour un Homme Seul, 1951-performed through the 'space potentiometer' device), Stockhausen (e.g., Gesang Der Junglinge, 1955-56; Oktophonie, 1991), Xenakis (e.g., Bohor, 1962; Hibiki Hana Ma, 1969-70), and in the sound installations of Bernhard Leitner (e.g., Double Arching, 1999; Sonambiente, 2006). The technology available today allows composers to use not only what is commercially available, but also to implement their own systems for spatialisation and performance interaction. The expansion of new audio codecs and microcontroller technology offers new possibilities to be musically explored.Similarly, current stage lighting technology can also be explored further through experimentation. Whereas stage lighting in popular music has been commonly explored by lighting designers, this has not been widely investigated in contemporary music. By using software such as Cycling '74's Max and open-source hardware platforms such as the Arduino, composers can design their own interfaces for sound-light control.These two forms of expression-space and light-allow composers to move beyond traditional notation and create sound interactions within the performance space, which can become multisensory and yield new forms of artistic expression. Taking practice-based and applied research strategies, this thesis suggests new ideas for the two mediums and narrates the process of development through design.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798209903284Subjects--Topical Terms:

518875
Design.
Index Terms--Genre/Form:

542853
Electronic books.

Composing for the Performance Space : = A Practice-Based Investigation on the Design of Interfaces for Spatial Sound and Lighting.
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500 $a Source: Dissertations Abstracts International, Volume: 83-09, Section: A.
500 $a Includes supplementary digital materials.
500 $a Advisor: Fairclough, Matthew;Coutinho, Eduardo.
502 $a Thesis (Ph.D.)--The University of Liverpool (United Kingdom), 2022.
504 $a Includes bibliographical references
520 $a This thesis presents a compositional portfolio that incorporates design methods for creating interactivity between music, spatialised multichannel audio and lighting. This is presented in the form of musical scores, commentary, and a summary of interfaces for sound spatialisation and lighting, including technical studies that present new design concepts and industrial prototypes. Furthermore, it reveals a new mixed-media format, Sound Canvas, that can be used for the display of interactive music and sound art within galleries.Spatial music has, for some years, been extensively explored in experimental music through different analogue and digital systems. Examples can be found in the electroacoustic works of Schaeffer (e.g., Symphonie Pour un Homme Seul, 1951-performed through the 'space potentiometer' device), Stockhausen (e.g., Gesang Der Junglinge, 1955-56; Oktophonie, 1991), Xenakis (e.g., Bohor, 1962; Hibiki Hana Ma, 1969-70), and in the sound installations of Bernhard Leitner (e.g., Double Arching, 1999; Sonambiente, 2006). The technology available today allows composers to use not only what is commercially available, but also to implement their own systems for spatialisation and performance interaction. The expansion of new audio codecs and microcontroller technology offers new possibilities to be musically explored.Similarly, current stage lighting technology can also be explored further through experimentation. Whereas stage lighting in popular music has been commonly explored by lighting designers, this has not been widely investigated in contemporary music. By using software such as Cycling '74's Max and open-source hardware platforms such as the Arduino, composers can design their own interfaces for sound-light control.These two forms of expression-space and light-allow composers to move beyond traditional notation and create sound interactions within the performance space, which can become multisensory and yield new forms of artistic expression. Taking practice-based and applied research strategies, this thesis suggests new ideas for the two mediums and narrates the process of development through design.
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