Abstract.

The work documented here is based on a site-specific music event conceived and implemented at a 19th century brewery. The project involved the exploration of space as a signifier, using creative methods drawn from electronic music, architectural design and performance of music in theater settings. This paper discusses reactions to the event, captured by means of surveys carried out after the event with attendees and artists from various disciplines. Survey results showed that site-specific music events can provide a stimulating and engaging framework for new audiences. It closes by signaling possible future lines of development for this research project. 

Abstract.

The article discusses the making of O que vos nunca cuidei a dizer, a gallery work for interactive garment, transducer-based interface and live electronics. A technical description of the work is framed by an account of the creative process with reference to media archaeological methodology and by a discussion of the role of composed instruments in the new paradigms of artistic research.

Abstract.

This article describes an innovative compositional method based on the use of a sonic time-lapse algorithm to create soundscape audio montages. The method is based on the superposition of short audio samples of 24-hour continuous field recordings carried out in various kinds of wildlife sonic environments. The optimisation of the algorithm focused on the enhancement of gradual crossfade transitions between recorded samples and the use of variable sample durations as a way of recreating a natural sense of evolution of sonic events in time. Future developments of the project will integrate virtual reality interfaces and environmental education projects as part of the time-lapse algorithm machine-learning techniques and also creative tools suitable for multimedia installations.

Abstract.

La preocupación por el estudio y preservación de entornos sonoros en centros urbanos ha llevado a grupos de investigadores a desarrollar ambiciosos proyectos transdisciplinarios sobre paisaje sonoro. Dichos avances también se han visto reflejados en la creación artística, donde el uso de grabaciones de campo se ha transformado en una importante herramienta de trabajo. Esto ha generado el desarrollo de nuevos enfoques estéticos, novedosa tecnología de punta y originales métodos creativos. El presente artículo explora algunas de dichas nuevas tendencias, utilizando como marco de análisis el trabajo creativo de siete artistas vinculados al paisaje sonoro.

Abstract.

The availability of robust and cheaper hardware tools in recent years has allowed the possibility of effectively integrating spatial sound as an organic component of dance and music performance projects. Inspired by these recent developments, an original body-worn sound system was designed, implemented and acoustically optimized aiming to effectively integrate performers’ movements and amplified sounds on stage. An innovative acoustic measurement method was used in connection with tests and interviews with practitioners to assess various sonic and artistic features of the implemented sound vest prototype. Audience questionnaires were employed to assess the perceived acoustic performance of the system in a medium size dance studio. Survey results showed that the perceived acoustic performance of the sound vest is highly dependent on the types of sound materials radiated by the system, as well as on the position of the performer in a room. Future work will consider the implementation and assessment of an extended hybrid spatial system consisting of several mobile sound sources synchronized with a fixed multi-channel sound reproduction system.

Abstract.

The author introduces a soundscape project involving wetland field recordings and an original sound time-lapse method used as the basis for the design and implementation of a sound installation.

Abstract.

This article describes two site-specific sound installations conceived as part of interdisciplinary collaborations which aimed to explore different acoustic and perceptual features of urban and rural landscapes. The creative process involved in the design and implementation of both installations is described, focusing on the organic montage techniques based on spatial and temporal features of field recording methods. Future developments of the works will consider ways of developing further spatial-temporal sampling methods to assess particular features of soundscapes by panels of trained listeners.

Abstract.

This article explores the relationship between the creative skills taught as part of the music technology BA course at Lancaster University and the skills valued by graduates and employers in the creative industries. The study investigated ways of enhancing specific and generic employability skills intrinsic to music technology teaching while working in close collaboration with industry partners and Lancaster University graduates. A survey of students, graduates and industry experts showed that generic and discipline-based skills linked to music technology composition teaching, such as communication, planning and organizing and critical listening, are highly valued by both recruiting professionals and students. These results are in line with findings from an earlier project that showed the importance of nondisciplinary knowledge shared among students from different backgrounds for the design and implementation of successful interdisciplinary collaborations. Future developments of the project will investigate ways of enhancing generic and specific employability skills within interdisciplinary learning environments for art and science students.

Abstract.

The role of spatial design in music has become more prominent in recent years, mostly because of the affordability of powerful software and hardware tools. Although spatial audio tools are widely used nowadays in studios and concert halls, there are only few examples of robust and comfortable wearable sound systems with a suitable acoustic response. A wireless body-worn loudspeaker prototype featuring original costume elements, a hybrid full-range loudspeaker array and an improved acoustic response was designed and implemented. The size, shape and acoustic performance of the prototype was optimised using data gathered from anechoic measurements and interviews with performers and audiences. Future developments of this project will consider the implementation of an extended multi-channel performance platform to explore sonic and spatial relationships created by several wearable devices on stage synchronised with a multi-loudspeaker diffusion system.