Music and spatial verisimilitude
Electroacoustic composers have developed a variety of approaches to the use of space within music. Relatively recent technological and scientific advancements have augmented synthesised space with the promise of verisimilitude: the sensation of spatially authentic audible reality. This supplementary material consists of audio files. Each file is made available in 3 formats: 4 speaker (or quad) surround sound; stereo; and B-format (fist order horizontal). Sets of files include: Fluoresce - is a spatial gesture created using two randomly generated images (documented in the thesis). The pixel data contained within the images drive the audio synthesis. Drivetrain - uses a recording of a drummer playing a simple rhythm. Hundreds of instances of the recording are distributed in space, and triggered to simulate a forward movement towards the listener. Lost Corps - distributes hundreds of recognisable pitched sounds over a large area surrounding the listener. Hammer - attempts to simulate the sound of many drummers moving in groups. Gorged - uses a range of spatial and timbral gestures that are born out of the exploration of the idiosyncratic characteristics of ImageSynth. It is the first complete composition First Flight Over an Island Interior - is the result of the conception of a compositional structure that is finalised before being rendered by ImageSynth. It uses a just-intonation grid of notes designed by Kraig Grady.
This is supplementary material to the UOW thesis 'Music and spatial verisimilitude' located: http://ro.uow.edu.au/theses/4116/
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