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The Deep Learning Revolution in MIR: The Pros and Cons, the Needs and the Challenges Read chapter Read first chapter

2021 | OriginalPaper | Chapter

Kinetic Design

From Sound Spatialisation to Kinetic Music

Author : Roland Cahen

Published in: Perception, Representations, Image, Sound, Music

Publisher: Springer International Publishing

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Abstract

This paper explores the process of kinetic music design. The first part of this paper presents the concept of kinetic music. The second part presents the sound design and compositional process of this type of music. The third part presents some excerpts from the composition logbook of a piece called Kinetic Design to illustrate the process of kinetic design as work in progress. This paper focuses on the question of sound spatialisation from a theoretical, as well as an empirical, point of view, through the experience and experiments of an electroacoustic music composer trying to make the imaginary concept of kinetic music real. It is a form of research by design, or research by doing. The kinetic design project examined here is the first time an experimental approach of research by design has been applied to kinetic music.

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previous chapter Mapping Sound Properties and Oenological Characters by a Collaborative Sound Design Approach – Towards an Augmented Experience
next chapter Designing Soundscapes for Alzheimer’s Disease Care, with Preliminary Clinical Observations
Footnotes
1
Musical research approach by Schaeffer [11].
 
2
Simulacrum refers to representation in ancient Greek literature and philosophy. This term was also used in XX century by Schaeffer [12].
 
3
A neologism meaning making something orchestral which was not originally.
 
4
Blauert, Bregmann, Rumsey, Jot, Warusfel, Pachet/Delerue, Cadoz/Luciani, Brümmer, Duchenne, Pottier, Vandegorne, Schumacher, Schacher, Baalman, Orlarey etc.
 
5
Schumacher with OMPrisma lib for open music.
 
6
Bevilaqua, Schnell, Lambert CoSiMa project.
 
7
See the kinetic music qualia below.
 
8
The reduction process consists of downmixing or converting multichannel sounds to stereo or mono.
 
9
Only listeners placed in the hotspot position can hear the spatial effects properly, e.g. equidistant from the surrounding speakers.
 
10
Real source positioning, as opposed to virtual positioning, techniques consist in placing each sound element on only one track / speaker. It has been used since the very beginning of spatialisation (multiple mono) and considered theoretically as a spatial compositional approach by various artists such as Pierre Boeswillwald in Octophonie Delta P (1991–94) with the concept of “octuor” or Benjamin Thigpen [13].
 
11
Linear panning stands for panning between two next in line speakers, works also for a circle where the azimuth controls the position.
 
12
The necessity to listen to spatialised sounds from a small point in the center of the device. The hotspot effect is more important when using virtual source positions than with real source positions.
 
13
Sonagination is a neologism invented by sound designers to draw a distinction between visual imagination and auditory imagination.
 
14
Spatial diversity is the desynchronization, or the originality, of the different voices. It has been used by Charles Verron [14] in his PhD thesis to simulate natural immersive sounds such as rain. Diversity equals 0 when 8 sound voices are mixed together and played on one or more speakers according to the spread value. Diversity equals 1 when a different sound voice plays on each speaker. Between 0 and 1, positions spacing of 8 the sound voices vary continuously.
 
15
See Kinetic audibility Sect. 2.2, above.
 
16
Nevertheless, all the sounds of a kinetic music are not necessarily kinetic.
 
17
‘One should use the function of forgeting’ (my translation).
 
18
It should be tested by non-expert listeners using proper perceptive evaluation methods.
 
19
DAW is an abbreviation of Digital Audio Workstation.
 
20
Blinding effect in electroacoustic concerts happens when as a listener you mostly hear the speaker next to you.
 
21
8.0 is a common format but not a market standard, but it is compatible with 7.1 SDDS.
 
22
Some parts of the music composition would avoid 1/8 transitions in order to be performed on a linear speaker array instead of a circular one. During performance, it is possible to avoid jumps when swapping from a circular to line, or line to circular, diffusion device by choosing the nearest speakers to ensure continuity e.g. 4–5. (Fig. 6.).
 
23
Vectors are elementary directional trajectories going from one speaker to another.
 
24
As established by Albert Bregman’s grouping principles [4].
 
25
The studio is equipped with 8 Genelec 8250 monitors placed around the central working position.
 
26
Auditory masking effect occurs when the perception of A is affected by the presence of sound B. It also concerns simultaneity, frequency, spectrum and directional masking.
 
Literature
1.
Baalman, M.: On Wave Field Synthesis and Electro-Acoustic Music, with a Particular Focus on the Reproduction of Arbitrarily Shaped Sound Sources. Ph.D. thesis, Technische Universität Berlin (2008)
2.
Baalman, M.: Spatial composition techniques and sound spatialisation technologies. Organ. Sound 15(3), 209–218 (2010)CrossRef
3.
Blauert, J.: Spatial Hearing. The MIT Press, Cambridge (1997)
4.
Bregman, A.S.: Auditory Scene Analysis: The Perceptual Organization of Sound. Bradford Books, MIT Press, Cambridge (1990)
5.
Cahen, R.: Octophonie DeltaP-Cahen. Compte rendu de recherche pour Octophonie Studio Delta P La Rochelle (1994)
6.
Hauberg, J.: Research by Design – a research strategy
7.
Macedo, F.: Phenomenology, spatial music and the composer: prelude to a phenomenology of space in electroacoustic music. In: Proceedings of the International Computer Music Conference 2011, University of Huddersfield, UK, 31 July–5 August (2011)
8.
Merlier, B.: Vocabulaire de l’espace en musiques électroacoustiques DELATOUR France, p. 230. Hal shs-0051174 (2006)
9.
Pottier, L.: La Spatialisation Des Musiques Électroacoustiques. Université Jean Monnet-Saint-Etienne. Edited by C.I.E.R.E.C Travaux ; Musique et Musicologie 157. Saint-Étienne: Publications de l’Université de Saint-Étienne (2012)
10.
Schaeffer, P.: De l’expérience musicale à l’expérience humaine. La Revue musicale n°274–275. Paris, Richard-Masse (1971)
11.
Schaeffer, P.: Traité des objets musicaux essai interdisciplines. Éditions du Seuil, Paris (1977)
12.
Schaeffer, P.: Machines à communiquer Tome 1 Genèse des simulacres
13.
14.
Verron, C.: Synthèse immersive de sons d’environnement. Thèse de doctorat en acoustique Université Aix-Marseille (2010)
Metadata
Title
Kinetic Design
Author
Roland Cahen
Copyright Year
2021
Book
Perception, Representations, Image, Sound, Music

Print ISBN: 978-3-030-70209-0

Electronic ISBN: 978-3-030-70210-6

Copyright Year: 2021

DOI
https://doi.org/10.1007/978-3-030-70210-6_33