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The author describes structural elements for and the conditions and contexts within which he creates his work. The recurring use of fractals and resonance is integral to the construction of sound objects.
The author discusses a piece that recycles noise in the surrounding environment, inviting active listening and contemplation on the act of listening itself.
The author describes his approach to using sustained tones in his compositional work and how he harnesses acoustical and psychoacoustical occurrences to create individual listening experiences.
The author describes her creation of a sound installation inspired by the phenomenon of auditory hallucinations.
The artist describes the use of virtual audio for spatial music composition.
The author discusses his sound installation Threshold as a system to explore an evolving acoustic ecology. For the purpose of this brief examination, the author observes how the soundscape functions as an interface in communion with its participants.
The desire for instrumental qualities in computer music often leads the artist to a process of “synthetic limitation,” wherein constraint is designed into a performance system, permitting creation only within prescribed limits. These practices can emerge as a consequence of the sheer dearth of...
The author considers the relationship between architecture, acoustics and audience. The author proposes we think of audience in a more active sense and attend to conditions of audience. This dynamic approach demonstrates how changes in architecture designed for sound both are related to social...
Sonification can allow us to connect sound and/or music via data to the environment; in another sense, by “displaying” data through sound, sonification participates in creating our acoustic environment. The authors consider here the significance of certain aspects of this relationship.
What makes a musical interval consonant? Since the early Greeks, there have been two contrasting views: an “objective” approach, focusing on the mathematical relationship of frequencies, and a “subjective” approach, emphasizing auditory perception. These approaches are reviewed, as are several...
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