Abstract
This paper presents the work of several projects that explore the relationships
between musical composition, singing performance and acoustic spaces through the lens of digital technologies and in the context of acoustic heritage. The development of digital tools to capture and analyse the acoustics of spaces has paved the way for new explorations into the contribution that acoustic science can make to the creative process and how that in turn influences our relationship with an understanding of the spaces themselves. Five discrete case studies are discussed which integrate digital technologies at different levels and at different stages in the creative process. Architexture I, for instance, takes the analysis of a single Room Impulse Response (RIR) to inform and influence the compositional process of a signature piece to be performed live in that space, whilst Architexture V, set in the same venue, gives the audience creative control of the acoustic as they can move singers around multiple positions within the venue based on a 2D visual representation provided through a downloadable application. The intermediate projects explore different facets of the potentiality of acoustic control and analysis, from reconstruction of the acoustics of historical spaces in live performance in Architexture II to influencing singing performance by changing acoustic venues in real time during a performance. The capacity for utilising existing technologies to influence musical creativity is reflected throughout these projects, and numerous avenues for future empirical as well as creative research emerge. Most revealing throughout the projects is the significance of architectural acoustics and the powerful impact they can have in changing the relationships between composers, performers and audiences throughout the creative process. The potential for utilising acoustics as a tool for education and engagement, especially around heritage and creative technologies is also discussed as an emerging area for further exploration.
between musical composition, singing performance and acoustic spaces through the lens of digital technologies and in the context of acoustic heritage. The development of digital tools to capture and analyse the acoustics of spaces has paved the way for new explorations into the contribution that acoustic science can make to the creative process and how that in turn influences our relationship with an understanding of the spaces themselves. Five discrete case studies are discussed which integrate digital technologies at different levels and at different stages in the creative process. Architexture I, for instance, takes the analysis of a single Room Impulse Response (RIR) to inform and influence the compositional process of a signature piece to be performed live in that space, whilst Architexture V, set in the same venue, gives the audience creative control of the acoustic as they can move singers around multiple positions within the venue based on a 2D visual representation provided through a downloadable application. The intermediate projects explore different facets of the potentiality of acoustic control and analysis, from reconstruction of the acoustics of historical spaces in live performance in Architexture II to influencing singing performance by changing acoustic venues in real time during a performance. The capacity for utilising existing technologies to influence musical creativity is reflected throughout these projects, and numerous avenues for future empirical as well as creative research emerge. Most revealing throughout the projects is the significance of architectural acoustics and the powerful impact they can have in changing the relationships between composers, performers and audiences throughout the creative process. The potential for utilising acoustics as a tool for education and engagement, especially around heritage and creative technologies is also discussed as an emerging area for further exploration.
| Original language | English |
|---|---|
| Title of host publication | Résonances Gothiques |
| Editors | Béatrice Caseau, Frédéric Billiet |
| DOIs | |
| Publication status | Published - 2024 |