PREMIERE during IMA concert at ZKM Klangdom/KUBUS Karlsruhe 2014.
The piece is part of the repertoire of the Klangdom at ZKM.
VERS01 – 11-voices, 5th order Ambisonics
No visual mean can fully show or express what we experience while we are listening to spatial sound compositions as the spatial is a parameter that adds a plastic component to the auditive experience that is mostly different to the text- or picture world.Although there have been many attempts to visualize spatial compositions these attempts can only assist for documentation or understanding structural aspects but cannot “picture” the emergences of the 3D auditory object.A triangular movement of a virtual source on a screen might be something like a triangular shape in the studio space, as long as one uses a simple click, burst or white noise sounds. But anything sounding beyond this basic signals has almost nothing to do with the visual idea, shape or architectural believe.The plastic sound object exists only in the ear. It is by all means an alternative “world proposal”.
To underline this well known but often “overlooked” situation and to better understand the differences, grafik unten asks, if we can rewire this thought and compose spatial music that guides the ear in space (and time) as if we are “looking”. So what might be “seeing with the ears”? For instance what is an auditory gaze, glance, or staring? And what about the Ohrenblick?
SECTION A – CONDUCTING
is referring to musical and bodily gestures that are motivated by a common score.
SECTION B – MELODY
is referring to the lattice based movement forming a certain trajectory.
SECTION C – ARC
is referring to a visual form that has a distinct spatial shape connecting two ccordinates
SECTION D – GLISTENING
a visual phenomenon that has a strong spatial component. Eyes are challenged, blinked.
SECTION E – CIRCLE
a common geometric form sketched into a spatial auditive experience not by moving a sound in a circle, because this is an exact example where the visual representation (DAW or code) does not match the aural impression.
SECTION F – FIGURE
is referring to the way we move our eyes to inspect or frisk a statue. Ears focussed on a spatial object. Staring, wandering, staring, up and down, there and back.
SECTION G – TABLEAU
is referring to the way we move our eyes while looking at a picture. Looking for details, connecting successive single impressions, losing the details, getting an overall impression, idea, staring in the end.
This composition was supported by the ZKM (Centre for Art and Media) Karlsruhe and the Atelier Sound Resarch of the Institute of Musicology of the University of Wuerzburg.
VERS02 – 11-Channel, 3rd order Ambisonics for an icosahedral loudspeaker